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GAGPROJECTS congratulates James Tylor on this extraordinary survey of his work curated by Leigh Robb.

Multi-disciplinary artist James Tylor combines historical and contemporary photographic processes to explore his Nunga (Kaurna Miyurna), Māori (Te Arawa) and European (English, Scottish, Irish, Dutch and Norwegian) ancestry.

‘Turrangka…in the shadows’ surveys a decade of Tylor’s practice and, for the first time, brings together the most comprehensive selection of his unique daguerreotypes, expansive digital photographic series, hand-made Kaurna cultural objects, and furniture. The exhibition title is drawn from a Kaurna word, highlighting a significant ongoing aspect of Tylor’s practice: the learning and sharing of his Indigenous language. As well as shadow, turra also translates to reflection, image, and mirror.

At the core of Tylor’s practice is a continuously innovative programme of photographic intervention, disrupting the image to redact or highlight visual information. He systematically alters the reading of Country by excising information from the photographic print or inscribing language and place-names onto the surface of his daguerreotypes. These photographs provide a glimpse into Tylor’s broader practice of recreating Kaurna cultural artefacts, architecture, and ephemera. Antiquated analogue photographic processes including Becquerel daguerreotypes and hand-tinting are also used to generate a new archive of pseudo-historical images. Tylor’s recreations point to the absence of these images from the hegemonic depiction of colonial Australia’s visual history.

These strategies are at the service of exploring the suppression and erasure of Aboriginal cultural history from the Australian landscape through the ongoing legacy of colonialism. Tylor considers his actions of learning Kaurna language and reviving culture on Country as a means of repatriation. ‘Turrangka…in the shadows’ looks at the complex interplay of techniques and the incisive observations on Australia’s fraught history that characterise Tylor’s prolific and profound artistic practice.

Two young Australian media artists are set to exhibit works in tandem across two exhibitions opening this June. Häxan's Mesmeric Pool and Thorne's Out the back of beyond: Marungka Tjalatjunu & The Sand That Ate The Sea open June 7th at GAGPROJECTS.

Thorne achieved a career honour this year, winning the Silver Bear Jury Prize for Short Film at the 73rd Berlinale International Film Festival for his film Marungka Tjalatjunu with actor Derik Lynch.

Häxan's film The Black Rite, developed as an homage to the 100 year anniversary of the premier of the groundbreaking silent film HÄXAN: witchcraft Through the Ages, debuted in Paris at Opyum Festival earlier this year and will be screening as part of Oslo Fusion Festival this September 1-30th.

Thorne will exhibit work developed during an extended stay with a remote opal mining community in Andamooka - famous for its opalised fossils and star-gazing. Häxan exhibits works from linked series UNIVERSE and REALITY, with the title of the exhibition alluding to the mesmerising qualities of nature and reality. Häxan and Thorne are linked by their shared photo/film practices, and the sense of pervading mysticism seen and felt across their works in both mediums.

Mesmeric Pool and Out the back of beyond: Marungka Tjalatjunu & The Sand That Ate The Sea open June 7th, 6-8pm at GAGPROJECTS, Kent Town

GAGPROJECTS has reopened in Kent Town, SA with a new exhibition of panel works on canvas by multidisciplinary Chinese/Australian artist Guan Wei. Guan Wei graduated from the Department of Fine Arts at Beijing Capital University in 1986. From 1989 to1992, he completed art residencies at the University of Tasmania, Australian National University and Museum of Contemporary Art in Sydney. In1993, he immigrated to Australia. In 2008, Guan Wei set up a studio in Beijing. He now lives and works in Beijing and Sydney.

Guan Wei has held more then 70 solo exhibitions in Australia and internationally, and has been included in many important international contemporary exhibitions, such as the Shanghai Biennial, China; the 10th Havana Biennial, Cuba; the Adelaide Biennial of Australian Art, Australia; the 3rd Asia Pacific Triennial of Contemporary Art, Australia; the Osaka Triennial, Japan; and the Gwangju Biennial, South Korea. He has been awarded in many art competitions, including: 2002 Sulman Prize at Art Gallery of NSW; 2015 Arthur Guy Memorial Prize, and Bendigo Art Gallery in Victoria. In 2021, Guan We was awarded an Honorary Doctor in Creative Art by the Western Sydney University.

Guan Wei’s work has a profoundly felt, if implicitly ironic, moral dimension. In their complex symbolic form, his subjects potently embody current social and environmental dilemmas. They are equally the product of his rich cultural repertory of symbols and his informed socio-political awareness and art-historical knowledge.

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