Outset is proud to have supported productions for the 20th Biennale of Sydney: The future is already here – it’s just not evenly distributed curated by Stephanie Rosenthal, Chief Curator, Hayward Gallery, London.
Solo retrospective presentation of works 1975-2002 at MOCA, Sydney
The retrospective exhibition of Noa Eshkol’s work at the 20th Biennale of Sydney with seven large-scale Wall Carpets and two vitrines of archival materials that included illustrations, photographs, scores, video, books and slides.
Noa Eshkol was an influential Israeli choreographer, dancer, researcher and textile artist. Together with Avraham Wachman she created Eshkol-Wachman Movement Notation in the 1950s, a thinking tool for recording and studying movement, which remained the cornerstone of her studies and an ongoing subject for her whole life. Initially conceived as a way for choreographers to record and transmit a dance, the system is now used in a variety of fields, from physical therapy to animal behaviour.
Choral Fields 1–12, 2014–16?
Graphite on paper?
Emma McNally creates large-scale cartographic drawings that explore the space between the virtual and the real, mapping the rhythms and disruptions of the world in layers of graphite and carbon on paper. Reminiscent of detailed charts of constellations, diagrams of military bases, complex musical scores or extensive circuitry boards, McNally’s meticulously drafted, intuitive drawings are maps of a mindscape; wholly imagined and informed by her observation of complex systems and interest in science, technology, philosophy and music.
McNally’s drawings are representations of things that are sensed more than seen, interpretations of an elusive space that exists in the overlap between the virtual realm and the physical world. Working for a time from a studio by the River Thames, McNally experienced daily the systolic rhythms of the river, the beating heart of London that instigated the development of the complex city system that exists there today. Observing the contrast between the measured cadence of the river and the frenetic pace of everyday life in the city, McNally became increasingly aware of the omnipresent influence of the online world and the mass of data and information available at the click of a button. At the Embassy of the Real, she presents Choral Fields 1–12, 2014–16, drawings that can be imagined as diagrams of data, recording the pathways upon which information is distributed and communicated via the internet, illustrations of the way everyday reality has become intimately linked to the digital world.
Atlas of Japanese Ostracon, 2016
Mixed media installation
Production supported by white rainbow, London
Nakamura’s installation for the Embassy of Disappearance includes 20–30 pieces from his series Atlas of Japanese Ostracon accompanied by 20–30 new pieces creating during a research tour of Japan. Each piece consists of a small, framed postcards with found ceramic pieces. While previously displayed in cabinets, Nakamura sees the presentation of his work in the Biennale as an installation, including other elements such as photographs and garden space.