Kuba Dorabialski’s epic single-channel video work, Invocation Trilogy, was due to open at Carriageworks on 1 July. Then it was due to open 29 July. And now? Like so many artists, he has beeb waiting. An online screening has just been announced. “But,” the artist says, “I still like the big screen, loud sound, dark space, walk in at indeterminate moment gallery thing, so fingers crossed.”
In his Smartphone Snaps photo-essay, Dorabialski armchair travels to idiosyncratic Eastern European destinations, and, closer to home, explores his own neighbourhood.
I collect old tourism photo books of Eastern European travel destinations and they’re proving to be very calming ersatz travel modes when I actually can’t go further than 10km from my home. This is Sandanski in Bulgaria.
In bed at noon, endlessly scrolling eBay, looking at cameras that I have no intention, or money, to buy.
The thing about the travel destinations in these books is that I obsess about the places in them and when I travel to these places I’m never not shocked that, while the place is still there, the time is not, and that’s actually what I wanted to see. This is Tashkent, Uzbekistan.
Awake at night, a 3am, playing Tetris over and over and over and over.
I visited this place in 2015 after having obsessed about this photo from an old book about Yugoslavia. This is Novi Beograd, Serbia.
I don’t particularly like my neighbourhood, but it’s been nice going for long walks with my children to unexplored streets and parks.
I have a new video project brewing about religious relics and part of it needs to be filmed in Armenia, but who knows when that can happen. This is Yerevan, Armenia.
Lockdown is a good time to do some pickling.
I visited this foyer in 2018 while filming Connection of the Sticks, the work whose exhibition is being endlessly postponed because of this lockdown. This is Kyiv, Ukraine (statue no longer there).
Me.
Invocation Trilogy
Kuba Dorabialski
Online at Carriageworks
18 August – 10 October
Due to the current Covid-19 pandemic, opening hours of galleries and museums across Australia are affected. We recommend that you check gallery opening hours prior to visiting.
In a new collaborative exhibition at PS Art Space, in partnership with Cool Change Contemporary, five artists with process-lead practices contemplate material ethics through actively engaging in slowness and reuse.
Isaac Julien’s 2022 video work Once Again…(Statues Never Die) exposes the unseen emotional registers inherent to the struggle for colonial repatriation by mapping the places where poetics and politics intersect.
A new exhibition at the Australian National Capital Artists Inc (ANCA) asks 12 artists—including Dan Powers, S.A.Adair, Emma Beer and Lisa Sammut—to explore scale: from the miniature to the monumental.
In a conversation with Lauren Carroll Harris for her survey exhibition at the Museum of Contemporary Art, Julie Rrap discusses 40 years of challenging the male gaze, and the cultural invisibility of the ageing female body.
Heide Museum of Modern Art’s summer blockbuster exhibition is unveiling the breadth and beauty of Italian modernism through design. With over 170 objects spanning sixty years, Molto Bello explores the cultural impact of this period of creativity and invention.
Melbourne-born figurative artist and ceramicist Rob McHaffie takes a global view of human idiosyncrasy. His biggest exhibition to date, now showing at Bendigo Art Gallery, covers over a decade of his painting practice.
