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jeudi 24 mars 2011

Book Presentation


The Great Australian Novel – A Panorama has a tale to tell. It is a story of Australia, its history and geography, its people and its ideas as revealed through the rich literary genre of the Australian novel. This is a cinematic story for all Australians to know about and to experience like an audience in a darkened cinema absorbed in exciting action on the silver screen. Jean-François Vernay’s seemingly casual approach speaks directly to the reader in a free-flowing narrative that is concerned with involving the reader intellectually – and emotionally. This remastered version of Panorama du roman australien (Paris: Hermann, 2009) is now available to all zones. Restricting it to the French zone would have deprived many of much.


BIONOTE
Jean-François VERNAY is a Franco-Australian essayist with a lifelong love of Australian writing. His most recent book, The Great Australian Novel – A Panorama (Melbourne: Brolga, 2010), has been translated by Dr. Marie Ramsland and reads like a riveting novel in a nonchalant – if not conversational – style. With his delightful command of language, Dr. Vernay has spared no effort to share his enthusiasm for Australian fiction from a refreshing and witty perspective.

More from the new Antipodes blog :

The Great Australian Novel: A Panorama

"Jean-François Vernay, perhaps the leading French-language Australian scholar,
has now published an English version of the French-language survey of the
Australian novel that came out last year. The Great Australian Novel is sure to
excite Australianists worldwide and provoke new disquisitions about the
canonical preferences and narrative is literary history within the Australian
textual sphere. It is very difficult to write narrative with any coherent
through-line in a national literature as heterogeneous as Australia's, and
Vernay, at least in the French version, did a splendid job of it. The
English-language version should spread this edification far wider".

Posted by Nicholas Birns:

http://antipodesjournal.blogspot.com/2011/03/great-australian-novel-panorama.html



See articles below for the forthcoming official launch of this book: 06 April 2011

mardi 22 mars 2011

Lancement officiel de la traduction australienne de Panorama du roman australien





Illustration: Portrait de l'auteur
par Charles Billich,
fusain, collection privée.


Evénement avec le concours de:












Evènement : Lancement officiel de The Great Australian Novel – A Panorama (Melbourne : Brolga, décembre 2010)
Lieu : BILLICH ART GALLERY, 106 George Street, The Rocks, Sydney NSW 2000.
Horaire : 18 h – 20h30.
Contact : Tel + 61 02 9252 1481 (Galerie Billich)
Contact pour media : Tel + 687 926670 (Jean-François Vernay)

J’ai le plaisir de vous annoncer le lancement officiel de The Great Australian Novel – A Panorama, la traduction de mon ouvrage Panorama du roman australien des origines à nos jours (Paris : Hermann, 2009).
Le lancement, programmé le mercredi 06 avril 2011 dans la BILLICH ART GALLERY, se fera sous l’égide de la talentueuse romancière Dr. Sue Woolfe (auteure de romans traduits en français, voir son site web :
http://www.suewoolfe.com.au/ ) en présence de la traductrice Dr. Marie Ramsland qui a enseigné de nombreuses années à l’Université de Newcastle, de l’auteur de The Great Australian Novel – A Panorama (autrement dit, votre dévoué serviteur) et du peintre de renommée internationale, Dr. Charles Billich.
Je remercie tout particulièrement le peintre Charles Billich, artiste d’exception, qui m’a fait l’honneur d’une œuvre d’art qui pastiche les affiches rétro de cinéma en guise de couverture (voir illustration ci-jointe), et Christa Billich pour la mise en place de cet événement dans la BILLICH ART GALLERY. Site web :
http://www.billich.com.au/.
La version australienne a bénéficié d’une mise à jour et la partie documentaire sur l’édition a considérablement été augmentée suite aux conférences données par l’auteur sur le sujet. Elle est préfacée par le grand écrivain Nicholas Jose qui a dirigé une anthologie d’extraits de textes australiens qui fait désormais référence : The Macquarie PEN Anthology of Australian Literature (2009). Il ne pourra être présent au lancement (et c’est bien dommage !) puisque son contrat a été renouvelé à l’université d’Harvard où il enseigne la littérature et la création littéraire.

J’exprime ma gratitude à la Mission aux affaires culturelles (à Nouméa) et à la Maison du Livre de la Nouvelle-Calédonie pour leur soutien à ce projet artistique qui, nul doute, participera au rayonnement culturel de la Nouvelle-Calédonie dans le Pacifique.

Il est à noter que BROLGA possède à présent les droits pour la langue anglaise uniquement en AUSTRALIE. En conséquence, ce livre n’est disponible à la vente qu’en Australie (dans toutes les librairies et sur le site de Brolga et Macmillan Australia). Jean-François Vernay possède encore les droits pour la langue anglaise pour tous les autres pays anglophones et se fera un plaisir d’accueillir toute proposition pour une édition américaine, anglaise, etc.

La version australienne, tout comme l’édition française, est disponible à la vente en Nouvelle-Calédonie auprès de l’auteur. Il suffit de prendre contact dès le 09 avril 2011 (tel. 926670).

J’espère de tout cœur que l’ouvrage, The Great Australian Novel – A Panorama, bénéficiera du même succès critique que l’œuvre originale publiée chez Hermann en février 2009. URL: http://www.editions-hermann.fr/voirRevue.php?revueid=2617&menu=&prodid=664&lang=fr
.......................................................................................

Ce qu'en pense la critique française:

Sylviane Soulard, Episodes 1 (Nouméa), juin 2009, pp.56-60.

“Cet ouvrage n’est certainement pas un catalogue ou un résumé des romans évoqués : il traduit un souci constant de l’évolution chronologique, des liens de la littérature avec l’histoire de l’Australie, il nous propose une littérature en mouvement. Il présente avec précision, alliant les notions abstraites et les références concrètes, les mouvements littéraires internationaux ou spécifiques de l’Australie dans lesquels s’inscrivent les romans."
"Il fallait faire ce « panorama », le roman australien le mérite. Le projet pouvait sembler audacieux, ambitieux, trop peut-être. Jean-François Vernay vient de nous prouver que ce n’était pas mission impossible, qu’il ne nous livrait pas un film de science-fiction. Cette étude est complète, précise, circonstanciée et, redisons-le …attrayante. Et c’était peut-être là le plus difficile !”

Roland Rossero, Les Infos 347 (Nouméa), 3 juillet 2009, p.4.

“Dans un style précis et agréable à lire, Jean-François Vernay déroule pour les francophones le film à épisodes du panorama australien. Les images sont nettes et les focus sur les auteurs et leurs oeuvres engagent à une connaissance plus en profondeur par la lecture exhaustive. Après cet ouvrage, le vaste continent de la littérature de nos proches voisins ne sera plus tel le désert non cartographié du bush."

Xavier Pons, Anglophonia/ Caliban 25 (Toulouse) 2009, pp.515-517.

“C’était une gageure de rendre intelligible une telle profusion d’auteurs et de titres (il se publie chaque année des centaines de romans en Australie), de proposer au lecteur des perspectives à la fois claires et respectueuses des spécificités individuelles sans jamais perdre de vue le contexte très particulier de la culture australienne. L’insertion, à intervalles réguliers, de ‘gros plans’ et de ‘contre-plongées’ sur tel titre ou tel auteur contribue à faire du livre une réussite : elle permet de donner du relief à certains éléments du paysage littéraire australien et d’éviter ainsi la monotonie d’un récit trop linéaire".
"… il faut espérer [que Panorama du roman australien] stimulera l’intérêt des lecteurs français pour la littérature australienne, encore mal connue mais désormais assez bien représentée en traduction. Le livre de Jean-François Vernay leur sera d’une grande utilité, aussi bien pour avoir une vue d’ensemble de cette littérature que pour s’informer sur un auteur particulier”.

David Martin, entretien publié dans Les Nouvelles Calédoniennes 11677 (29/01/2010), p.5. Visible sur le site des éditions Hermann.


Michel Feith, Erea 7.2 (2010).
« Le Panorama du roman australien est donc un ouvrage honnête, qui sera un outil utile aux étudiants comme aux simples amateurs de la littérature australienne. Le fait qu’il englobe la production romanesque jusqu’en 2007 lui donne un avantage temporaire sur la plupart de ses concurrents. »


N’hésitez pas à partager cette information dans vos réseaux sociaux et sur vos blogs, sites web, twitter, pages Facebook, etc.
D’avance, je vous remercie de votre collaboration.

Jean-François Vernay

jeudi 17 mars 2011

April 6th 2011: The official launch of The Great Australian Novel -- A Panorama








The translation of Panorama du roman australien is now available in Australia thanks to Brolga:
http://www.brolgapublishing.com.au/title.php?Bn=QW5FbmNvZGVkU3RyaW5nT2ZCcm9sZ2FQdWJsaXNoaW5nXzE0NA==

I am delighted to announce that novelist Sue Woolfe will launch The Great Australian Novel - A Panorama in the Rocks, in the presence of translator Marie Ramsland and author Jean-François Vernay and internationally renowned artist Charles Billich.

More about Sue Woolfe: http://www.suewoolfe.com.au/

Time : 6pm-8.30 pm
Venue address:
Billich Art Gallery
106 George Street “The Rocks”
Sydney, NSW 2000
Australia

Phone: (61) 02 9252 1481

Fax: (61) 02 9252 1480

Email: mailto:billich@billich.com?subject=Website%20Enquiry

Read more about the author:
http://www.billich.com/news/Jean-Francois.pdfois.pdf

For invitations please contact Billich Gallery 02 9252 1481 or email billich@billich.com

Read more about the Billich Gallery: http://www.billich.com.au/default.aspx

.....................................................................................................................................................................

Praise for The Great Australian Novel - A Panorama:


Simon Caterson, “French take on the Australian novel” in A2 “Features”, The Age (Melbourne), 14 Feb 2009, p.21. E-print:

http://www.theage.com.au/news/entertainment/books/french-take-on-the-australian-novel/2009/02/13/1234028266764.html

“… Vernay’s approach to the Australian novel has the intellectual playfulness associated with some of the best French critical writing … Panorama du roman australien is bold in its conception and promises to be influential in shaping the wider world’s appreciation and understanding of Australian literature”.
………………………………………………………………………….

Maurice Blackman, Explorations : A Journal of French/Australian Connections 47 (Melbourne), Dec. 2009, pp.41-2.

“ […] Panorama du roman australien is a remarkable achievement which promises to raise awareness of the Australian novel in France and Europe …"

………………………………………………………………………….

Marie Ramsland, LINQ (Queensland), May 2010, pp.185-90.
“Like a silver screen narrator, Vernay speaks directly to the reader – the « I » soon becomes « we ». And this seemingly casual approach continues in the prologue and onwards, in a free-flowing narrative that is not just concerned with giving cold hard disjointed facts (although facts there are), but with involving the reader intellectually – and emotionally. One can imagine the reader as part of an audience in a darkened cinema absorbed in exciting action on the silver screen."
………………………………………………………………………….


Nicholas Jose, General Editor of the Macquarie PEN Anthology of Australian Literature. Foreword to The Great Australian Novel – A Panorama.


[Jean-François Vernay’s] guiding principle is to see Australian literature on its own terms rather than, as is often the case, as a subsidiary of the Anglophone subset of world literature […]. Vernay’s is a decolonising project that brings a vitalising perspective to Australian literary studies. […] Vernay’s observations […] are enlivened by enthusiasm, sensitivity and engagement. He participates in the quarrels and triumphs of Australian literature. Whether this panorama is surveyed in its French or English versions, whether in the classroom where it will be useful or elsewhere as a general introduction, we owe Jean-François Vernay a debt of gratitude for his generous intervention.
………………………………………………………………………….

Ludivine Royer, Postcolonial Text 5: 4 (2009), 3 pp. E-print:

http://postcolonial.org/index.php/pct/article/view/1170/1033


[…] unlike the aforementioned university publications, which compile the work of several contributors who together sought to give a comprehensive view of Australian literature in bulky volumes meant to be reference works, Panorama is a short and single-authored book that reads from cover to cover like a riveting novel. In fact, it would seem that Vernay intended—and managed—to share his enthusiasm for Australia’s national literature as much as he sought to impart the sound knowledge he acquired over ten years of research. Passion shows through each page of this carefully argued text.


The launch is proudly supported by the French Government









Jean-François Vernay wishes to thank from the bottom of his heart the Mission aux Affaires Culturelles (in particular, Emmanuelle Charrier)
as well as La Maison du Livre de Nouvelle-Calédonie (Jean-Brice Peirano and Frédéric Ohlen) for their kind assistance in this project.

« La poésie de la sensualité » : les nus de Charles Billich


Copyright des oeuvres: Charles Billich.


Né le 06 septembre 1934 à Lovran, ville située sur la presqu'île de l'Adriatique jadis appelée Istrie, Charles Billich peut être défini comme un homme riche de dualités qui se plaît à réconcilier les contraires.


« La poésie de la sensualité » : les nus de Charles Billich

L'homme lui-même incarne la coincidencia oppositorum. Au confluent de deux cultures, cet Australien-Croate, peintre et sculpteur, ne cesse de se dédoubler. L'homme public oscille entre gravité et légèreté, l'amphitryon jongle avec le luxe et la simplicité, le chercheur émaille son érudition de menus propos, et l'artiste retrouve toute la rigueur de sa peinture dans le chaos de son atelier. En janvier 2003, le maître déclarait : « Mes nus ne sont jamais lubriques ou pornographiques ; ils sont plutôt poétiques. J’appellerais mon œuvre : la poésie de la sensualité » (1).

L’égérie de Billich
A chaque grand maître son égérie. Si Picasso avait sa Dora, Dalí : sa Gala ; Billich, quant à lui a sa Christa qui, depuis leur première rencontre en 1985, a inspiré plus de la moitié des nus exécutés par Charles. Billich fait partie de ces peintres de nus qui ont élevé cette spécialité au rang du sensuel. Pour reprendre ses propos : "Mon style d'art érotique relève plus de la clarté esthétique que de l'explicite. Mes penchants sont plus d'ordre sentimental que charnel, plus d'ordre introspectif que descriptif, plus d'ordre ludique que désinvolte". Il n'y a rien de sexuel. Le regard de la femme n'est pas lascif et les rondeurs se font rares. Ses femmes sont plutôt menues, graciles et gracieuses. Les couleurs à dominante rouge-orangé expriment toute la passion qui émane de ces poses. On peut ranger Billich parmi les artistes qui établissent et expriment une telle complicité avec leur modèle féminin qu'il est impossible au spectateur "de croire qu'elle s'est dévêtue pour lui", comme le dit si bien John Berger (2). C'est tout juste si le spectateur ne campe pas, malgré lui, le rôle du voyeur.

Un rapport ambivalent avec les femmes
Et pourtant, son rapport avec les femmes est assez ambivalent. Elles le fascinent, de par leur charme et leur beauté, autant qu'elles le façonnent puisque sa manière de les dépeindre est presque invariable. C'est parce qu'elles sont perçues comme impressionnantes, voire dominatrices, que leur visage est souvent détourné, quand il n'est pas flou ou presque gommé (Tristesse, 1991). Et si l'on distingue davantage la silhouette, les yeux sont généralement baissés (Queen of Spade, 1994 ; Lovranka, 1988). Ces femmes sont fréquemment peintes de dos (Members Only, 1991 ; Firecracker in the Aquarium, 1996) ou de profil (Lucy's Back ! 1995) (3), et quand elles sont peintes de face (30 Years Later, 1995; Sophie 1997 ; Daniela 1998), leur regard est terne ou vitreux. On sent que l'artiste est ému devant ces femmes dont les dualités jungiennes (la séductrice/ la destructrice, la déesse / la sorcière, la pure/ la catin, etc.) lui ont été révélées lors d'une douloureuse expérience dans sa jeunesse. En effet, au début des années 50, alors qu'il se savait menacé pour avoir publié des propos séditieux allant à l'encontre du régime d'Istrie et qu'il tentait de fuir, il fut arrêté puis emprisonné au Goulag après avoir été dénoncé et trahi par sa petite amie. Parce que ressentis comme ambivalents, ambigus et incertains, les modèles féminins de Billich baignent dans un flou artistique.

Billich symbolique
La symbolique de certains nus est résolument biblique. In the Garden of Good and Evil (1997), par exemple, suggère une allégorie de la tentation. Le point de mire est le fruit défendu, une pomme rouge qui jouxte subtilement le sexe de la femme pour permettre au spectateur d'établir une correspondance, somme toute convenue, entre ces deux éléments. Le sourire peut être celui du défi de la tentatrice à la faiblesse de la chair, tout comme il peut être un symbole de la felix culpa. Sans péché originel, point de salut pour notre âme. L'horloge située en haut à gauche nous rappelle que depuis la Chute, l'homme est passé d'un extrême à l'autre : de l'éternité à la temporalité, de l'immortalité à la mortalité (tempus fugit : le temps est fugitif, l'homme doit donc composer avec sa finitude), de l'otium (l'oisiveté) au negotium (le travail).

Notes :
(1) J.-F. Vernay, "Des sauts magiques sur le continuum d’une vie. Entretien avec Charles Billich", Correspondances Océaniennes 2 : 1 (Juin 2003), pp. 25-8, p.27.
(2) J. Berger, Ways of Seeing (London : BBC & Penguin, 1972), p.57.
(3) Tableau publié in Correspondances Océaniennes 1 : 1 (Mars 2002), p.4.
Jean-François VERNAY,
auteur de Panorama du roman australien (Paris: Hermann, 2009) traduit par Marie Ramsland sous le titre de The Great Australian Novel – A Panorama (Melbourne : Brolga, 2010)

Pour plus d'images sur la production de Charles Billich, consulter son site:
http://www.billich.com.au/

mercredi 16 mars 2011

Unguided Tours: Anne Landa Award for video and new media arts 2011







Caption: David Haines and Joyce Hinterding The outlands 2011, production still. Courtesy of the artists and BREENSPACE,Sydney




“Where to?” From a plane trip half-way round the globe, to a poetic walk through suburban backstreets, to a virtual voyage through a digitally constructed world, the 2011 Anne Landa Award offers a series of ‘unguided tours’ through some rich imaginative territory. Using video, computer animation, kinetic sculpture and even an immersive game environment, the seven contemporary artists in the 2011 Award explore the lure of other places, the anxieties and pleasures of travel, and the unexpected rewards of getting lost.

The Anne Landa Award was the first acquisitive award in Australia to focus on moving image practices and the application of new technologies to contemporary art. Established in honour of Anne Landa, a former trustee of the gallery who embraced challenging art and ideas, the award is a vital platform for presenting and supporting dynamic, exploratory work that is exemplary in this area. Unguided Tours is the fourth in the biennial exhibition series and for the first time both Australian and international participating artists are eligible for the acquisitive award of $25,000.

This year’s Anne Landa Award exhibition is guest curated by New Zealand curator and author Justin Paton, and features the artists Rachel Khedoori (Australia/USA), David Haines (UK/Australia) and Joyce Hinterding (Australia), Jae Hoon Lee (Korea/NZ), Arlo Mountford (Australia), Charlie Sofo (Australia), and Ian Burns (Australia/USA), whose contribution includes a major installation for the Gallery’s entrance as part of the exhibition.

Between them the artists cover a huge and varied territory, with Charlie Sofo wandering and wondering in the suburbs of Melbourne, Rachel Khedoori quietly entering the depths of the Australian bush, Ian Burns exploring the landscape of American cinema, and Jae Hoon Lee climbing the steps of a temple in India. Meanwhile Arlo Mountford brings to digital life the moment of departure (or is it arrival?) portrayed in two famous paintings by Watteau, and David Haines and Joyce Hinterding invite viewers to take the controls and choose their own path through the forests and deserts of a stark and strange digital environment. Along the way, they reflect on everything from road movies to tourism to the precariousness of the planet.

No matter how far-flung the locations and how varied the concerns, what these artists all share is a spirit of open-ended curiosity – a belief that art picks up where the guidebooks leave off. In their different ways, they all assert that imaginative travel is at least as important as the physical kind.

THE ARTISTS AND THEIR WORKS

Ian Burns (Born 1964 Newcastle Australia; resides New York City, USA) puts technology to wry and witty use, employing toy vehicles, cheap consumer objects and salvaged electronics to evoke the speed and scale of contemporary travel and the precariousness of the planet. In Burns’s bleakly comic Makin’ Tracks 2010, a toy plastic Hummer literally rides roughshod over the entire globe, while 15 Hours v.4 2010, ingeniously dismantles the glamour of international air travel.

David Haines (b 1966 London UK; resides Blue Mountains, Australia) and Joyce Hinterding (b 1958, Melbourne, Australia; resides Blue Mountains, Australia) invite gallery-goers to pick up the controls and conduct their own voyage through an immersive, two-screen videogame environment. Unlike most ‘first-person shooters’, this game rewards curiosity and open-ended movement, unfolding through a haunting monochrome landscape of forests, buildings and deserts that recall the contemporary Middle East.

Rachel Khedoori (b 1964 Sydney, Australia; resides Los Angeles, USA) turns a slow-moving view of Australian bush into a mesmerising mirror world. Combining a film projection with a sleek mirrored surface, Khedoori creates a Rorschach-like double landscape that endlessly peels away from itself. The resulting installation plunges viewers into a shadowy world that is familiar and strange, solid and fluid, densely detailed yet impossible to fully grasp.

Jae Hoon Lee (b 1973 Seoul, Korea; resides Auckland, NZ) makes travel photographs with a twist, harvesting hundreds of images in remote locations like Nepal and then digitally combining and altering them. Like the Asian scroll paintings they often resemble, Lee’s photographs evoke journeys that unfold in time through landscapes of dizzying and sometimes threatening immensity.

Arlo Mountford (b 1978 Honiton, UK; resides Melbourne, Australia) updates one of Western art’s most famous riddles, using computer animation to give life to Jean-Antoine Watteau’s famous paintings of lovers arriving on or departing from a mythical island called Cythera. Adding motion to the scenes, Mountford poses afresh the question that viewers have long asked: Has the journey just begun, or just ended? Is this a scene of joy or lament?

Charlie Sofo (b 1983 Melbourne; resides Melbourne, Australia) goes walking in neighbourhoods near at hand, looking for the extraordinary in the ordinary. Paying attention to places that are usually glimpsed from the passenger window, Sofo’s videos propose a fresh way of understanding the landscape of the city – not in a car and in a rush, but on foot and on the lookout for small discoveries and lyrical connections.

On view

5 May – 10 Jul 2011
Art Gallery of New South Wales
Art Gallery Road, The Domain, Sydney

Admission
Free

Australian landscape photography 1970s until now





NSW Art Gallery media release





















Works by 18 leading Australian artists – spanning more than three decades – present diverse and changing depictions of individual journeys through the national landscape. Bringing together over 90 works, this exhibition explores concepts of place and the role of the photographer as storyteller.

Tracing innovative developments in photographic techniques, the exhibition includes montage, Instamatic and Polaroid works of the 1970s, series from the 1980s and contemporary work. Drawn from the collections of the Art Gallery of NSW, National Gallery of Australia, National Gallery of Victoria and the Tasmanian Museum and Art Gallery among others.
Photography & place presents the work of 18 artists including Rosemary Laing, Anne Ferran, Michael Riley, Ingeborg Tyssen, Simryn Gill and Ricky Maynard among others. The range of work included encompasses ideas of place in relation to historical residue, ethnicity, the interface between people and nature, the sublime, as well as the road and the journey in Australian landscape mythologies.

The artists are not necessarily constructing the image, however they do have specific intentions in mind and do conceptualise, compose and consider the craft and process of their work very carefully. What we tend to see in the final print is a metaphor for something. Through presence as much as absence the idea is presented in the simplest possible way.

There is also an implicit acknowledgement of the role of the photographer as a mediator and a story teller, and the story is not at all straightforward. It is not picture postcard perfect.

Since the early 1990s Anne Ferran for example, has been focussing on places in Australia’s history where women have resided – Rouse Hill, Hyde Park Barracks and most recently, the Female Factories in Tasmania. In the series Lost to worlds 2008 Ferran has documented the bare ground where the Tasmanian Factories once stood. Printed directly onto aluminium these large scale photographs exhibit the traces of those left behind.

Rosemary Laing’s 2004 panoramic photographs of places such as the Flinders Ranges or Lake Eyre operate within an Australian art historical imperative as well as independently because of their formal and aesthetic characteristics. Severely pared back if viewed in relation to her earlier series, this work nonetheless approaches similar ideas to do with the history of art, and exploration in Australia. The path through the bleached gum trees in after Heysen may have been trod for thousands of years - the symbology of place is not confined to the painters and photographers who visited the area between the World wars. Further, the idea of heat associated with place is as far removed from the conventional idea of landscape as can be.

Visually linking the natural environment with religious symbolism Michael Riley articulates in the series flyblown 1998, Indigenous spirituality’s connections to country and widens his examination beyond to examine the sustained environmental damage. Riley’s success in articulating these issues and complexities, incorporating religious iconography so burdened by history and meaning, is a testament to his sensitivity and subtlety. Allowing room for ambiguity, Riley provides space for the mixed emotions of the subject and its history.

There are those in Photography & place who deconstruct the view before the camera lens and attempt to reconstruct what can be seen in order to present a less partial depiction of the environment we inhabit. In the 1970s these views included montages of two or more images within the frame, books, and the use of Polaroids and Instamatic cameras. From the 1980s onwards artists worked increasingly in series rather than single images further exploding notions of fixed pictorial codes and perspectives. The journey of discovery ceased to have romantic connotations and became very much a discovery of detail, occasionally cinematic in scale but as often focussed on the intimacies of the local.

This exhibition looks at the earlier work from the 1970s and compares and contrasts intention and effect in relation to more recent photography. It examines works which present very specific views of locations and what that location or place can be taken to represent.

Artists included :

Simone Douglas

Ian North
Peter Elliston

Paul Ogier
Anne Ferran

Debra Phillips
Simryn Gill

Jon Rhodes
Bill Henson

Michael Riley
Douglas Holleley

Lynn Silverman
Rosemary Laing

Wes Stacey
Marion Marrison

David Stephenson
Ricky Maynard

Ingeborg Tyssen


On view: 16 March – 29 May 2011
Art Gallery of New South Wales
Art Gallery Road, The Domain, Sydney

Hours: 10am to 5pm, 7 days a week
Art After Hours Wednesday nights until 9pm

Admission: Free

Coming soon: Eugene von Guérard: Nature Revealed

16 April – 7 August 2011
The Ian Potter Centre: NGV Australia

Opening 16 April 2011, the National Gallery of Victoria will present Eugene von Guérard: Nature Revealed, a superb exhibition which takes an in depth look at one of Australia’s most renowned and eminent landscape artists, Eugene von Guérard (1811-1901).

Frances Lindsay, Deputy Director, NGV said: “This is a fascinating exhibition and a key highlight of our 150th birthday celebrations, as it takes a fresh look at the remarkable contribution von Guérard made to Melbourne’s developing arts culture in his role as the inaugural Curator and Master of the School of Painting at the NGV. In 2011 we also celebrate the anniversary of 200 years of von Guérard’s birth date.
“Von Guérard is unquestionably one of Australia’s most distinguished artists. Through his detailed brushstrokes and breathtaking compositions, visitors will explore the magnificent Australian, New Zealand and European landscapes he captured on his expeditions around the world
,” said Ms Lindsay.

This exhibition will feature over 150 works, including many of von Guérard’s beloved iconic landscapes such as Northeast view from the northern top of Mt Kosciuszko, Tower Hill, Mt William and part of the Grampians in West Victoria, and Ferntree Gully in the Dandenong Ranges, as well as several beautifully illustrated sketch books, and some never-before-seen paintings.

Dr Ruth Pullin, Guest Curator, NGV said: “Von Guérard’s impressive landscapes offer great insight into the expeditions of which he was a part. The microscopic detail, accuracy and the scientifically-informed perspective that characterise von Guérard’s great Australian landscapes grew out of his experiences in Italy and Germany.
“For instance his geologically-informed portrayals of the Western District reflect his studies of the volcanic geology of the German Eifel. Von Guérard’s perceptive recognition of the significance of the volcanic Western plains and its geology has taken on particular contemporary relevance with the region being given global geopark status by UNESCO (Kanawinka Geopark),”
she said.
Von Guérard’s experience in Düsseldorf as an open air painter encouraged his close observation of the details and the diversity of the natural world. Many works discovered in the course of the research leading up to this exhibition will be on display for the first time.
“In particular von Guérard was inspired by the great German natural scientist Alexander von Humboldt, to travel to the New World of Australia and undertake intrepid expeditions, often into remote and inaccessible regions of Australia’s south eastern colonies. On some of these, he travelled with scientists such as the German geophysicist, Georg von Neumayer. Their expedition to the top of Kosciuszko transformed von Guérard’s records of the geology and topography of the region, into some of the most sublime expressions of the Australian landscape in the history of Australian art,” said Dr Pullin.
Michael Varcoe-Cocks, Conservator & Exhibition Co-Curator, NGV said: “This exhibition has provided the opportunity for an unprecedented conservation program to be carried out on important works by von Guérard. The technical research associated with these treatments has revealed exciting new discoveries into the history of the paintings and a unique insight to the artist’s studio methods.
“Over the last three years, the conservation work that many of the paintings and their frames have undergone, will enable viewers to see and experience the works as von Guérard intended.
“Based on von Guérard’s precise observations of nature, this exhibition also highlights how his works are increasingly recognised as important environmental and historical records,”
said Mr Varcoe-Cocks.

Eugene von Guérard: Nature Revealed will be on display from 16 April to 7 August 2011 at The Ian Potter Centre: NGV Australia.
Open daily 10am–5pm. Admission fees apply.

A comprehensive book with essays by Dr Ruth Pullin and Michael Varcoe-Cocks and other writers will be published to coincide with the opening of the exhibition. RRP$49.95

Admission fees:
Adult $15.00 / Concession $12.00 / Child (5-15 yrs) $7.50 / Family (2 Adults + 3 Children) $42.00
NGV Member Adult $7.50 / NGV Member Family (2 Adults + 3 Children) $21.00

Journal of Modern Greek Studies


Nicholas Birns, Editor of Antipodes: A Global Journal of Australian/New Zealand Literature, http://www.australianliterature.org/Antipodes_Recent_Issues.htm

informs us that the Journal of Modern Greek Studies now under the editorship of the Melbourne-trained Maria Koundoura, is now accepting submissions on Greek-Australian authors such as Komninos Zervos, Dimitris Tsaloumas, Pi O, Antigone Kefala, Fotini Epanomitis, and so on. Please visit the link of the journal at

http://www.press.jhu.edu/journals/journal_of_modern_greek_studies/

mercredi 9 mars 2011

Marie Ramsland in conversation with the Independent Scholars of Australia Association


Photo credit : ISAA (NSW BRanch)
Sue Steggall holding the French and Australian versions of Jean-François Vernay's potted literary history of the Australian novel.
The Independent Scholars of Australia Association organised, for their first event of 2011, "A Conversation with the Translator of The Great Australian Novel -- A Panorama". It was an adaptation of their usual "work-in-progress" events held 2 or 3 times a year - being a "finished work". It was held in Sue Steggall's home in Sydney and Sue, who had lived in France for several years and visits her family there every year, had read both versions. Sue and Marie Ramsland's conversation lasted about 90 minutes - "a most stimulating morning", according to the translator.

samedi 5 mars 2011

Call for papers: Textual Manipulation

Bibliographical Society of Australia and New Zealand

Adelaide, Thursday 3rd – Friday 4th November

The conference theme of Textual Manipulation will allow papers to explore, within the discipline of physical and textual bibliography, both past practices and future trends - in particular how the manipulation of electronic texts may change the landscape of bibliographical studies over the coming decades.
Contributors may also wish to explore broader concepts including:

 Textual transmission – translation / editing / anthologising / rewriting / parody / plagiarism

 Censored/censured texts

 Medium of the message - cultural, political, religious, economic, aesthetic, psychological impacts

 Reception studies / reader response / how printing, publishing and graphic design affect reading

 (Re)shaping the book - text as art / textual art / artist books / novelty texts

Presentations of 20-25 minutes will be followed by discussion (maximum 30 min per speaker)

Postgraduate students ‘works in progress’ papers are encouraged & travel bursaries are available

Enquiries and offers for papers, with 250 word abstracts and a short biographical note, by 31 March 2011 to:

Cheryl Hoskin,
Special Collections Librarian,
Barr Smith Library, The University of Adelaide, Adelaide SA 5005
cheryl.hoskin@adelaide.edu.au

The Conference will be preceded by a Rare Book Librarians’ Day on Wednesday the 2nd November, The Barr Smith Library, University of Adelaide

Call for Papers Antipodes 2012 double issue


(Left: the 2011 themed issue
of Antipodes on
Asian/Australian
Connections).


The 2012 issue of Antipodes to be printed in June of that year, will be a double issue, marking the 25th anniversary of the journal and a transition to a new, more compact format and a new emphasis on imaginative prose (whether fiction or nonfiction) and on transnational analysis.
Our 2011 special issues, on Asian Australian Literature in June 2011 and Transnational Antipodeanism in December 2011, will prepare for the 2012 issue, which will be partially a general issue on any Australian or New Zealand topic, partially a special issue on the idea of “Late Style” in the Antipodes. Books like Edward W. Said's Late Style and Nicholas Delbanco's Lastingness have proposed that the later part of an author’s career has distinctive emphases and attributes in literary terms. Essays are welcome that inquire into the later works of Antipodean authors in these terms, or contesting these terms.


Are there specific aspects to careers Down Under that inflect these Northern hemisphere paradigms?

Is there a difference between literature of old age and that of old old age?

Is the entire notion of late style too psychobiographical? Too organic?

Is there or can there be, a connection between late style and postcolonial approaches over and above the biographical one provided by Said?

Do old men and old women write differently?

Do sexuality, ethnicity, financial comfort international reception impact how age is articulated as a matter of style?

Does the geological age of Australia, the relation of pre-European New Zealand to the development of Polynesian culture in the Pacific, or the different temporal claims made by Indigenous and non-Indigenous people, have relevance here?

Any approach extending, refuting, or circumnavigating any of the above is welcome. We also welcome creative nonficiton and fiction dealing with this theme of the latter part of life and its literary consequences; fiction submissions should be sent to Jack Bennett at jbennett@uoregon.edu

; creative nonfiction to Nicholas Birns as specified below. Please note that fiction and creative nonfiction are paid, whereas refereed articles are not paid.

Academic article submissions should be under 6000 words, done in MLA style and US spelling, and submitted to Nicholas Birns at birnsn@newschool.edu by 1 December 2011.

jeudi 3 mars 2011

Lauching Etchings 9: Love and Something


ILURA PRESS, BRUNSWICK STREET GALLERY, LENTIL AS ANYTHING and MONTARA WINES invite you and your friends to the launch of

etchings 9: Love and Something



@ Brunswick Street Gallery
2nd Floor, 322 Brunswick Street, Fitzroy

(Please note: no lift access; please phone Ilura Press for specific arrangements)

FRIDAY, 11 MARCH 2011

6.30-8pm (doors open at 6pm)

To be launched by
OSCAR WINNING CLAY-ANIMATOR ADAM ELLIOT

Join us to celebrate the new look of etchings with a glass of wine, finger food, readings, and music by the NERVOUS DANCERS. Fun book bags with a chance to win a love-ly wine hamper sponsored by MONTARA WINES.

Everyone welcome!