TV Moore has developed a singular artistic practice that critically engages with the expressive potentials of the moving image including video and animation. Bizarre facts, distorted fictions outsiders, mavericks, magic and loners all occupy Moore’s gaze. Using psychological space, performance, narrative and non-narrative structures, Moore operates in a myriad of worlds and is interested in the space between the real and the unreal.
TV Moore’s work has been nationally and internationally recognized with exhibitions including With Love & Squalor, Australian Centre for Contemporary Art (ACCA), 2015; TV Moore’s Rum Jungle, Campbelltown Arts Centre, 2014; the 16th and 19th Biennale of Sydney, 2008 and 2014; Tell me tell me: Australian and Korean Contemporary Art 1976-2011, National Museum of Modern and Contemporary Art, Seoul and Museum of Contemporary Art Australia (MCA), Sydney, 2011-12; Busan Biennale, 2008; and T1: The Pantagruel Syndrome, Turin Triennale, 2005. He is a recipient of an Australia Council Fellowship, 2013-14 and the Anna Landa Award for Video and New Media Arts, Art Gallery of New South Wales, 2009.
Residents from Australia
Through his particular methods and techniques, Boyd pushes the viewer towards unstable perceptual, emotional and intellectual readings of his paintings and moving images. He interleaves the remnants of suppressed histories with the anxiety that we cannot fully comprehend our past, a realization even more poignant in the knowledge of the social inequality of Indigenous peoples and their fragmented existence in Australia. He layers different constructions of history that not only grapple with the process of rooting his personal life in his ancestral culture and heritage, but also to connect his art to questions of deep time and space.
Daniel Boyd (born 1982, Australia) lives and works in Australia. Boyd’s work was recently exhibited in All the World’s Futures, 56th International Exhibition of La Biennale di Venezia; Kochi-Muziris Biennale, India; The TarraWarra Biennale 2014: Whisper in My Mask, TarraWarra Museum of Art, Healesville, Victoria; A Time for Dreams, IV International Biennale for Young Art, Museum of Moscow; and Post-Picasso: Contemporary Reactions, at the Museu Picasso, Barcelona, Spain. Boyd’s paintings are in major collections such as the Natural History Museum, London; National Gallery of Australia, Canberra; Art Gallery of New South Wales, Sydney; The Museum of Contemporary Art, Sydney; the National Gallery of Victoria, Melbourne; the Tasmanian Museum and Art Gallery, Hobart; and The Queensland Art Gallery | Gallery of Modern Art, Brisbane.
Residents from Australia
Much of Aleksander Komarov’s film work are edited as essays concerning the economic, political, and social conditions that have enabled his nomadic lifestyle- a hallmark of globalized artist-hood. Through film Komarov explores the recording and production of imagery as a political activity, were images therefore appear as co-producers of social conditions. In each work, the spectator is situated within a timeline, on the premise of deconstructing a conclusive documentary statement and instead offering up multiple possible routes towards meaning. As a person entangled in multiple political systems, he exposes the contemporary identity politics as a regulation mechanism of post-industrial exploitation and question whether the art itself now takes over the old assignment of rationalization and standardization.
Aleksander Komarov was born and raised in Belarus, trained as an artist in Glebov Art Leceum in Minsk, Belarus; the University of Fine Arts Poznan, Poland; and Rijksakademie, The Netherlands. He published filmic and written essays concerning questions of migrating identity’s, (cultural) globalization, the condition of contemporary art and its relation to broader economic contexts. His films include Estate (2008); Capital (2009), Glosy/Voices (2011), Palipaduazennje (2012), Language Lessons (2013). Komarov is also co-founder of Air Berlin Alexanderplatz, a research-related residency program in Berlin. His films were exhibited most recently at the Moscow Biennial (2015); Arsenal Gallery, Poland (2014) and The Way of the Shovel, curated by Dieter Roelstraete at the Museum of Contemporary Art, Chicago, 2013.