Portrait of Katthy Cavaliere in Vieste, Italy, 2001. Photographer unknown
Suspended Moment brings together current and past work by the three recipients of Suspended Moment: The Katthy Cavaliere Fellowship and formative work by Katthy Cavaliere loaned from her estate. This exhibition, curated specially for tour by Daniel Mudie Cunningham (Director Programs, Carriageworks), will comprise work by Giselle Stanborough, Frances Barrett and Sally Rees, the three recipients of this prestigious fellowship. A selection of work by Katthy Cavaliere will be presented alongside the three artists who have benefited from her generous legacy.
THE KATTHY CAVALIERE FELLOWSHIP
Suspended Moment: The Katthy Cavaliere Fellowship is a major new artist fellowship established in the name of Italian-born, Australian artist Katthy Cavaliere (1972-2012). Female-identifying artists or artist collectives were invited to submit proposals for an ambitious new project focused at the intersection of installation and performance art practice.
In April 2019, artists Frances Barrett (NSW), Giselle Stanborough (NSW) and Sally Rees (TAS) were announced as the recipients of the Fellowship. Each artist received $100,000 to realise an ambitious new work that will be presented in three individual exhibitions at the Australian Centre for Contemporary Art (ACCA) (Frances Barrett), Carriageworks (Giselle Stanborough) and MONA (Sally Rees) in 2020.
The selection panel comprised leadership and curatorial representatives from the presenting institutions, including Daniel Mudie Cunningham (Director of Programs, Carriageworks), David Walsh (Founder, MONA) and Nicole Durling (Co-Director of Exhibitions and Collections and Senior Curator, MONA), Max Delany (Director, ACCA) and Annika Kristensen (Senior Curator, ACCA).
In making the selection on 24 January, which poignantly was the seven-year anniversary of Cavaliere’s death, the panel noted:
‘Each are exceptional artists working at the forefront of experimental performance and installation practices, and each presented proposals that are especially fitting of Katthy’s legacy. We are now excited to progress this significant new initiative, working with the artist fellows towards three major exhibitions of large-scale and ambitious new work to be presented in the first half of 2020. We commend the Katthy Cavaliere estate for their generous and inspirational support of Australian women artists.’
ABOUT THE ARTISTS
Frances Barrett (b 1983, Sydney) is an artist and curator who lives and works on Gadigal land. Her practice extends the paradigms of performance and conceptual art, meditating on issues of ephemerality, duration and historicity, as well as intimacy and care. Guided by a queer-feminist ethic, much of her work pivots around the modalities of listening and touch. Barrett’s recent projects include All Ears: A listening party, Campbelltown Arts Centre, 2018; Into My Arms, Ace Open, 2018; and Handle, CCS Bard Hessel Museum of Art, 2018. She was a studio artist at 4A Centre for Contemporary Asian Art for the duration of 2018, and is one member of art collective Barbara Cleveland, who in 2019 will present a new project, Thinking Business, at Sullivan + Strumpf, Sydney. Barrett is currently a PhD candidate in Curatorial Practice at Monash Art Design and Architecture.
At ACCA from 4 April – 8 June 2020, Frances Barrett will create The future echoes [working title], a sound and light installation that will transform ACCA into a space of audition. Scripted and improvised vocalisations will be composed as a looping score. The future echoes foregrounds the role of the audience as critical and active listener, proposing listening as an urgent mode of political agency.
ACCA will also present a survey of the artist’s practice to date to accompany her new work. Work for the Suspended Moment touring exhibition will be drawn from this selection.
Giselle Stanborough (b 1986, Waratah, NSW) is an intermedia artist based in Sydney. Her works combine online and offline elements to address how user generated media encourage us to identify and perform notions of self, and the relationship between connectivity and isolation. Motivated by a curiosity in the increasing indeterminacy between the private and public spheres, Stanborough’s work often addresses contemporary interpersonal experiences in relation to technology, feminism and consumer capitalism. Her work has featured in the Washington Post’s Pictures of the Day and has been shown at major venues such as the Australian Centre for Contemporary Art, 2018; Museum of Contemporary Art Australia, 2017; Gertrude Contemporary, 2015 and Next Wave Festival, 2014.
At Carriageworks from 6 March to 8 June 2020, Giselle Stanborough’s Cinopticon will contemporise Foucault’s theory of the ‘panopticon’: instead of the few watching the many, today we watch each other and the few. With an affinity for Katthy Cavaliere’s performance of self, Stanborough will work with her own personal online archive to create an immersive performance installation where audiences will see their reflection in unpredictable.
Sally Rees (b 1970, Burnie, TAS) is an artist based in Hobart. Working across time-based, static and experimental forms, Rees’ work explores human frailty and revelation, looking to operate as an agent for social, cultural, political and personal change. Rees holds a PhD from the University of Tasmania, and has exhibited widely including at the Australian Centre for Photography, 2010; Artspace, Richmond, VA, USA, 2012 and Contemporary Art Tasmania, 2011, 2014, 2016, 2018.
At MONA from 8 April 2020 – 10 August 2020, Sally Rees will present Crone, a series of works comprising of animations, prints and actions. Rees will create a crone identity as an antidote to the perceived invisibility of ageing women in contemporary society. Through the crone, the artist seeks to redefine the female elder as a powerful and transgressive figure.
Selected work will be included in Suspended Moment for tour.
Katthy Cavaliere Suspended Moment Fellowship recipients, L-R Sally Rees, Giselle Stanborough and Frances Barrett. Image Daniel Boud 2019. Courtesy Carriageworks
ABOUT KATTHY CAVALIERE
Born in Sarteano, Tuscany in 1972, Katthy Cavaliere migrated from Italy to Australia with her family when she was four years old. She attended University of NSW Art & Design (then known as College of Fine Arts) in Sydney and was a recipient of the Helen Lempriere Travelling Art Scholarship in 2000, enabling her studies in Italy at the Accademia di Belle Arti, Brera, Milano. During this time in Italy she studied under Marina Abramović. Upon returning to Australia in 2004, Cavaliere staged a survey exhibition called Suspended Moment, which toured to regional galleries in NSW. The fellowship has been named to honour Cavaliere’s practice and this landmark exhibition. Created at Artspace Sydney, her video performance, Loved, was included in the 54th Venice Biennale, 2011.
Following her death in January 2012, the Museum of Old and New Art (MONA) presented her retrospective survey Loved in 2015-16. Curated by Daniel Mudie Cunningham, the exhibition toured to Carriageworks in 2016 and was accompanied by an extensive career-spanning monograph.
It was Cavaliere’s desire to bring to light what she did not remember of her early years in Sarteano that motivated her lifelong project of packing, storing and transporting the wreckage of her personal possessions, and transforming it into performance installation works that have been exhibited in solo and group shows internationally.
Cavaliere’s work is held in the collections of the Art Gallery of New South Wales, National Gallery of Victoria, Heide Museum of Modern Art, Museum of Old and New Art, Artbank, University of Queensland Art Museum, Monash Gallery of Art and numerous regional galleries. Katthy Cavaliere’s archive is held in the National Art Archive at the Art Gallery of New South Wales.
Frances Barrett, Giselle Stanborough and Sally Rees win richest art prize for female artists – by Naaman Zhou, The Guardian
Suspended Moment – by Briony Downes, Art Guide Australia
Giselle Stanborough on performing our own surveillance – by Rebecca Gallo, Art Gallery Australia
Inside Cinopticon – Carriageworks
Our Phones Were Never Private Anyway – Artist Diary by Giselle Stanborough, Carriageworks
Artist Talk: Giselle Stanborough Video– Artist Giselle Stanborough talks to curator Daniel Mudie Cunningham about Cinopticon, Michel Foucault, surveillance technologies and the seduction of TikTok
The power of older women: Sally Rees – by Briony Downes, Art Guide Australia
Frances Barrett on connecting through art and taking postponement day by day – by Briony Downes, Art Guide Australia
|Goulburn Regional Art Gallery, NSW||26 March – 1 May 2021|
|Maitland Regional Art Gallery, NSW||22 May – 22 August 2021|
|Bega Valley Regional Gallery, NSW||4 September – 31 October 2021|
|Jervis Bay Maritime Museum and Gallery, NSW||13 November 2021 – 13 February 2022|
|Wollongong Art Gallery, NSW||27 February – 24 April 2022|
|Manly Art Gallery & Museum, NSW||6 May – 26 June 2022|
|The Glasshouse Regional Gallery, Port Macquarie, NSW||9 July – 4 September 2022|
|Mildura Arts Centre, VIC||15 September – 13 November 2022|
|Ararat Gallery TAMA, VIC||26 November 2022 – January 2023|
|Redcliffe Art Gallery, QLD||11 February – 16 April 2023|
|Araluen Arts Centre, Alice Springs, NT||May – August 2023|
A Carriageworks and Museums & Galleries of NSW touring exhibition, curated by Daniel Mudie Cunningham, developed in partnership with the Australian Centre for Contemporary Art, Melbourne and the Museum of Old and New Art (MONA), Tasmania.