Photography Exhibit



*This project is a part of 1st Worldwide Apartment and Studio Biennale ‘Be My Guest’.

Opening of the exhibition: 22 November 16:00-20:00

‘Moments’ represent an attempt to capture fleeting moments of our lives, the ones that would usually fade away before having a chance to describe them or even to consciously acknowledge them: a slow kiss, a time of sadness, a quick wave, a nostalgic look, a startling one. The photographic eye is quietly watching and observing us, insinuating itself in the most intimate contexts. Unseen in the shadow, it passively waits for the ‘right moment’. Textures, patterns, lighting conditions might slightly differ, but what brings together the images is first and foremost a certain, private way of experiencing time and emotion that fully ignores the ‘third eye’ of the camera.

Curator: Dominika Jackuliakova

Curator and Project Coordinator: Adriana Hajduová

Artist: Crisia Miroiu

Address: Mozartova 17, Level 4, Halkova Z Apartments,
811 02 Bratislava, Slovakia

Photoworks: In its early form, photography was described as being a tool, in contrast to painting, which was recognised as a fine artform. What impact did this have on the development of photography?

Carol Jacobi: In the beginning photographs were naturally discussed in a language adapted from other pictorial arts (painting, drawing and print-making). Not all accounts of the medium were technical and the artistry of photographic methods was appreciated, as well as the science. In the 1840s, the first salted paper prints by painter David Octavius Hill and photographer Robert Adamson were exhibited at the Scottish Academy and likened to Rembrandt. In 1860s critics compared Henry Peach Robinson’s Lady of Shallot to Walter Crane’s contemporary oil of the same subject. By the 1880s photogravure vied with fine prints and photographers of the Salons of The Linked Ring group displayed their work as autonomous pictures.

PW: What lessons do you think were translated from painting to photography in terms of achieving true representation?

CJ: Photography emerged into an age when the desire to be ‘true’, to authentically reflect the modern world and experience, was revolutionising literature and art, most notably in the case of the Pre-Raphaelites.  Photographer James Graham worked alongside painter William Holman Hunt in the Middle East with the same practical and spiritual aim of documenting the scene of Christ’s childhood. However, in the 1860s, painters and photographers of the Aesthetic movement turned away from objective detail and explored indistinctness, mystery and subjective effects; Whistler’s Nocturne’s, for example, influenced the soft, smoky Thames views of PH Emerson and Alvin Langdon Coburn.

PW: What contribution has photography made to the field of painting?

CJ: Within five years of the invention of photography, painters had incorporated them into their range of source material, using them as studies and even underdrawings. David Octavius Hill collaborated with Robert Adamson to create one of the first crowd portraits, The Disruption Picture (1843-66) an ambitious array of 457 faces, while William Etty adapted a photograph of himself with downcast eyes into an inscrutable self-portrait. Photographers and painters shared a tendency to dispense with the professional model and represent friends, family and lovers. The Aesthetic Circle, for example, which included Julia Margaret Cameron and Dante Gabriel Rossetti, explored more individualised beauty and psychological intimacy.

More here.

Carol Jacobi is curator of Tate Britain’s Painting with Light: Art and Photography from the Pre-Raphaelites to the Modern Age shows until 25 September, 2016 at Tate Britain.


‘deCompositions’ represents a duo exhibition of visual artists Agnes Durbet and Crisia Miroiu, exploring the connections between the visible and un-visible elements captured and assumed by a photograph.

The show will be on display at ‘Since I left You’ Public Space and Art Gallery between 10 March and 13 April 2015.

On Saturday 13 December Artspace, both galleries and studio spaces alike, will be opened to the public for a day of celebration. Featuring performances, open studios, music and a keynote public talk with Claire Bishop (leading theorist, art historian and Professor of Contemporary Art at City University of New York), the afternoon promises to be an exciting event that will bring a successful 2014 to a close.



Open Studios at Artspace
The 2014 Artspace studio artists will open the doors to their studios for visitors to join them for informal discussions about their practice and to view work created whilst in residency at Artspace.
WITH: Khadim Ali, Tane Andrews, Ella Barclay, David Burns, Brian Fuata, Agatha Gothe-Snape, Natalya Hughes, Anna Kristensen, Casey Legler, Todd McMillan, Adam Norton and Mark Shorter
LOCATION: Artspace Level 2
BOOKING: n/a, free and open to the public

Performance Month #4
The second in a series of daylong performance programs throughout the Gunnery, curated by Francesca Heinz and Artspace Studio Resident Mark Shorter.
WITH: Sach Catts, Clare M Cooper, Michaela Davies, Elise Harmsen, Shane Haseman, Jane Polkinghorne, Matte Rochford, Mark Shorter and Ben Terakes
LOCATION: throughout the building
BOOKING: n/a, free and open to the public

FROM 12.30PM TO 1.30PM

Making Time with Tessa Zettel
NSW Visual Arts Fellowship (Emerging) artist Tessa Zettel will host the final event of her Making Time project. Making Time is an open kitchen laboratory where participants share strategies for preservation – of food but also of the self. Following a series of preserving workshops held during the exhibition in various locations around Woolloomooloo, Making Time now opens up one last time for an informal jar swap and conversation. To participate, bring along a jar of something you’ve preserved yourself to exchange for someone else’s.
LOCATION: Artspace galleries
BOOKING: n/a, free and open to the public


Keynote Presentation with Claire Bishop, Dance in Museums
Leading theorist Claire Bishop (Professor, City University of New York) will present her keynote speech, Dance in Museums. Over the last five years, discussions about performance have focused on dance in the museum, displacing the millennial preoccupation with re-enactment. At the same time, the question of how to acquire and display performance as part of a museum’s permanent collection is far from fully resolved. This talk looks at developments in three museums (two in New York, one in London) that have attempted to integrate dance into their gallery spaces, and at two recent artist-curated projects that have approached the conjunction of dance and museums in a more discursive fashion. Following the presentation, Frances Barrett (Artist and Curator Contemporary Performance, Campbelltown Arts Centre) will lead a short Q&A session to enable the audience to engage with the discussion.
LOCATION: Artspace, Level 2
BOOKING: recommended, via eventbrite


Drinks, music and celebration at Artspace
Following the presentation of Dance in Museums, Artspace invites visitors to relax in the galleries and Level 2 for a refreshing afternoon drink and music. DJ Bla-bla Kruger will help us celebrate the close of an exciting 2014.
LOCATION: throughout the building
BOOKING: n/a, free and open to the public
DATE: Saturday 13 December, from midday
LOCATION: Artspace galleries and studios
BOOKING: n/a, free and open to the public


Zoe Walford takes images from soft porn, popular cartoon characters, graphics and advertisements from various decades. This visual material is incorporated into paintings and drawings, creating mixed media art works. The works are humorous reinventions of mainstream ideas of sexy but also have an absurdist quality that can be disconcerting and implies a darker element in contemporary cultural representations of women and sex.

Check ‘I see what you did there vol. 2″ for more of Zoe Walford fine art work.