GALLERY REPRESENTATION

UPCOMING

Limits to Growth
Kunst Werke Berlin Germany
2 June – 13 August 2017
Opening: 1 June 2017 (Solo exhibition )

Manipulate the World
Morderna Museet Stockholm Sweden
Oct 14th 2017 – Jan 21st 2018 (Group exhibition)

Nicholas Mangan

For as long as the I can remember, I have been pulling things apart – attempting to understand them – and then putting them back together (but not always in the same way).

My practice is driven by the desire make sense of the world by unpacking histories and possible narratives that surround specific contested sites and objects. This investigation explores the unstable relationship between culture and nature, evidencing the flows of matter, energy and ideologies that are produced through the tension of these two realms. A disputed tropical mine, a bankrupted island nation, a geological sample of the earliest earth crust, discarded tourist souvenirs and the remnants of a demolished architectural icon have each lent material to this process of dissection and reconfiguration. By rerouting such these events, stories and objects , new forms and latent narratives are unearthed. Recent projects have utilised a confluence of film and sculpture as an agent for both formal and metaphorical excavation.

Born 1979 Geelong, Victoria, Australia.
Currently lives and works in Melbourne, Australia.

Education

2015
PhD in Fine Arts, Monash University, Melbourne
2007–2008
UDK, Berlin, Germany
2001
Bachelor of Arts (Fine Art), Victorian College of the Arts

Selected Solo Exhibits

2016
Limits to Growth, Monash University Museum of Art, Melbourne, Australia
Brilliant Errors, Sutton Gallery, Melbourne, Australia
Ancient Lights, Labor, Mexico City, Mexico
2015
Other Currents, Artspace, Sydney, Australia
Ancient Lights, Chisenhale Gallery, London, UK
2012
Some Kind of Duration, Centre for Contemporary Photography, Melbourne, Australia
2011
Let’s Talk about the Weather, Y3K, Melbourne
, Australia
2010
Nauru, Notes from a Cretaceous World, Sutton Gallery, Melbourne
, Australia
2009
Between a rock and a hard place, Level 2 Project Space, Art Gallery of New South Wales, Sydney
, Australia
2008
Misplaced / Displayed Mass- A1 Southwest Stone, Studio 12, Gertrude Contemporary Art Spaces, Melbourne
, Australia
A1 Southwest Stone, Sutton gallery project space Melbourne
, Australia
2007
Comparative Material, Projects @ 230 Young Street Fitzroy / Sutton Gallery, Melbourne, Australia
2006
The Mutant Message, Sutton Gallery, Melbourne
, Australia
2005
The Colony, Gertrude Contemporary Art Spaces, Melbourne, Australia
 
SELECTED GROUP EXHIBITIONS
2016
Imagine the Present, curated by Abby Cunnane, St Paul St. Gallery, Auckland, New Zealand,
Riddle of the Burial Grounds, curated by Tessa Giblin, Extra City, Antwerpen, Belgium
Let’s Talk About the Weather: Art and Ecology in a Time of Crisis, Curated by Nataša Petrešin-Bachelez and Nora Razian, Sursock Museum, Sursock, Beirut, Lebanon
Neriri Kirurur Harara, SeMa Biennale Curated by Beck Jee-sook, Mediacity Seoul, South Korea
Gwangju Biennale: the Eight Climate (What Does Art Do?), Gwangju, curated by Maria Lind, South Korea
Beyond 2 degrees, curated by Brooke Kellaway, Museum of Contemporary Art Santa Barbara, Santa Barbara, USA
2015
The Biography of Things, Curated by Hannah Mathews and Annika Kristensen, Australian Centre of for Contemporary Art, Melbourne
Riddle of the Burial Grounds, curated by Tessa Giblin, Project Arts Centre, Dublin, Ireland
Surround Audience, New Museum Triennial, Curated by Lauren Cornell and Ryan Trecartin, New York, USA
Concrete, Curated by Geraldine Barlow, Tophane-i Amire, Culture and Arts Center Mimar Sinan Fine Art University, Istanbul, Turkey
Rocks, Stones, and Dust, Curated by John G. Hampton, University of Toronto Art Centre, Canada
Art in the age of… curated by Defne Ayas, Natasha Hoare, Samuel Saelemakers, With De withe, Rotterdam, The Netherlands
2014
Octopus 14: Nothing Beside Remains, curated by Tara McDowell, Gertrude Contemporary, Melbourne, Australia
Concrete, curated by Geraldine Barlow, Monash University Museum of Art, Melbourne, Australia
Thinking About Building, Curated by Melanie Oliver, The Physics Room, Christchurch, New Zealand
Creative Suite, Square2, Curated by Andie Bell, City Gallery, Wellington, New Zealand
Anthropocene Monument, curated by Bruno Latour and Bronislaw Szerszynski, Les Abattoirs, Toulouse, France
2013
Melbourne Now, National Gallery of Victoria, Melbourne, Australia
Weather Permitting, 9th Bienal do Mercosul, Curated by Sofia Hernandez Chong Cuy, Porto Alegre, Brazil
Mom, am I a barbarian?, 13th Istanbul Biennial, Curated by Fulya Erdemci, instabul, Turkey
Living in the Ruins of the Twentieth Century, curated by Adam Jasper and Holly Williams UTS Gallery, Sydney
Courtesy of the artist, curated by Alexandra Baudelot, CNEAI, Paris, France
Regimes of Value, curated by Elizabeth Gower, Margaret Lawrence Gallery and The Substation, Melbourne, Australia
Third/Fourth: Melbourne artist facilitated Biennial, Curated by Christopher L.G Hill, Margaret Lawrence Gallery, The University of Melbourne, Australia
2012
Art & Australia Collection 2003–2013, Newcastle Art Gallery, New South Wales, Australia
Negotiating This World: Contemporary Australian Art, National Gallery of Victoria, Melbourne, Australia
Running on Pebbles: through-lines with incidents and increments, Curated by Allan Smith, The Snakepit, Auckland, New Zealand
Sinking Islands, Curated by Vincent Normand, Labor, Mexico City, Mexico
2011
Talking Pictures, Curated by Melanie Oliver Artspace, Sydney, Australia
The Edge of the Universe (Part II), Curated by Danny Lacy, Shepparton Art Gallery Victoria, Australia
Networks (cells & silos), curated by Geraldine Barlow, Monash University Museum of Art, Melbourne, Australia
2010
2010 Adelaide Biennial of Australian Art: Before & After Science, curated by Charlotte Day and Sarah Tutton, Art Gallery of South Australia, Adelaide, Australia
Event Horizon, curated by Mark Feary, Centre for Contemporary Photography, Melbourne, Australia
The woods that see and hear, Curated by Sarah Farrer, Dertien Hectare, Heeswijk, The Netherlands
2009
West Brunswick Sculpture Triennial, Ocular Lab and various venues around Brunswick, Melbourne, Australia
2008
Y2K Melbourne Biennial, TCB art inc., Melbourne, Australia
The Ecologies Project, Monash University Museum of Art, Melbourne, Australia
Fictions, curated by Kirrily Hammond, Monash University, Museum of Art touring exhibition, Switchback Gallery, Gippsland Centre for Art and Design, Australia
TarraWarra Biennial 2008: Lost & Found, an Archaeology ofthe Present, curated by Charlotte Day, TarraWarra Museum of Art, Healesville, Australia
Lucky Number Seven, SITE Biennial 2008, Curated by Lance Fung, SITE Santa Fe, USA
Revolving Doors, an exhibition in memory of Blair Trethowan, Uplands Gallery, Melbourne, Australia
The Shadow Cabinet, the second phase of ‘Master Humphrey’s Clock’, curated by Yulia Aksenova, Jesse Birch, Sarah Farrar, Inti Guerrero and Virginija Januskeviciute, de Appel Arts Centre, The Netherlands
2006
Super Natural, Curted by Emily Cormack, The Physics Room, Christchurch, New Zealand

Adventures with Form in Space, The Fourth Balnaves Foundation Sculpture Project, Curated by Wayne Tunnicliffe, Art Gallery of New South Wales, Sydney, Australia
Uncanny Nature, Curated by Rebecca Coates, Australian Centre for Contemporary Art, Melbourne, Australia
2004-2005
Molecular History of Everything, curated by Juliana Engberg, Australian Centre for Contemporary Art, Melbourne, Australia
2004
Australian Culture Now, The Ian Potter Centre: National Gallery of Victoria, Melbourne, Australia
Primavera,curated by Vivienne Webb, Museum of Contemporary Art, Sydney, Australia
Work in progress, curated by Hannah Matthews, Spacement, Melbourne, Australia
Carbon Copy and Giant Molecules, curated by John Nicholson, Penthouse and Pavement, Melbourne, Australia

Pure Negativity, Westspace, Melbourne, Australia
: Mutable Spaces, curated by Josh Milani, Metro Arts, Brisbane, Australia

Nauru — Notes from a Cretaceous World

(2010)

August 28, 2005. The Limestone Pinnacles at Nauru House in Melbourne, Victoria in the process of being relocated to Flinders. Photographer: Peter Glenane/Newspix. Copyright: News Corp Australia.

August 28, 2005. The Limestone Pinnacles at Nauru House in Melbourne, Victoria in the process of being relocated to Flinders. Photographer: Peter Glenane/Newspix. Copyright: News Corp Australia.

Nauru House, 80 Collins St, Melbourne, Victoria, Australia, 1977. Photographer unknown. Collection of the Museum of Estonian Architecture.

Nauru House, 80 Collins St, Melbourne, Victoria, Australia, 1977. Photographer unknown. Collection of the Museum of Estonian Architecture.

Nicholas Mangan, Tarmac at Nauru International Airport, 2009.

Nicholas Mangan, Tarmac at Nauru International Airport, 2009.

Nicholas Mangan, *Proposition for Dowiyogo’s Ancient Coral Coffee Table*, 2009, coral limestone from the island of Nauru, wooden travel crate, 60 × 60 × 95 cm. Installation detail, Between a Rock and a Hard Place, Art Gallery of New South Wales, Sydney, 2009. Photographer: Carley Wright.

Nicholas Mangan, Proposition for Dowiyogo’s Ancient Coral Coffee Table, 2009, coral limestone from the island of Nauru, wooden travel crate, 60 × 60 × 95 cm. Installation detail, Between a Rock and a Hard Place, Art Gallery of New South Wales, Sydney, 2009. Photographer: Carley Wright.

Pages from *Nicholas Mangan: Nauru—Notes from a Cretaceous World* (Melbourne: The Narrows, 2010; designed by Warren Taylor). Reproduction photographer: Matthew Stanton.

Pages from Nicholas Mangan: Nauru—Notes from a Cretaceous World (Melbourne: The Narrows, 2010; designed by Warren Taylor). Reproduction photographer: Matthew Stanton.

Nauruan postal stamps. Photographer: Andrew Curtis. Collection of Nicholas Mangan.

Nauruan postal stamps. Photographer: Andrew Curtis. Collection of Nicholas Mangan.

This project attempts to enter into the history of the island Republic of Nauru by completing a proposition but forward by the former president Bernhard Dowiyogo. Lying on his death bed in a Washington D.C hospital in 2003, at the time of Nauru's imminent bankruptcy, Dowigyogo was quoted by an American reporter as saying that his plan to save Nauru’s ailing economy was to turn the remaining coral rock on the island into ancient coffee coral tables. These were to be sold on the US market. Dowiyogo passed away before his project could be realized.

The rock used in Dowiyogo’s Ancient Coral Coffee Table was sourced from Melbourne, Australia; the exact coral limestone pinnacles which had been shipped from Nauru during its 1970s hay-day. The pinnacles were installed in the forecourt of the high-rise Nauru House, which the country had built with money made from the strip-mining and selling of their island’s nutrient rich interior to western interests. Agriculture-phosphate.

The pinnacles were erected as a symbol of prosperity, but in 2004 when Nauru House was sold to pay off the island’s national debt, they were torn from their podiums and removed from the site. By locating and purchasing a section of the pinnacles from the private owner who came to possess them, a homage to Dowiyogo’s project and the dying island itself was completed.

Front cover of *Nauru 1990: An Environmental Challenge for Australia and the Pacific*, produced for the Government of the Republic of Nauru by Helen Bogdan and Associates in Melbourne, 1990. Reproduction photographer: Andrew Curtis.

Front cover of Nauru 1990: An Environmental Challenge for Australia and the Pacific, produced for the Government of the Republic of Nauru by Helen Bogdan and Associates in Melbourne, 1990. Reproduction photographer: Andrew Curtis.

Coral limestone sample being weighed at Nauru International Airport in Boe, Nauru prior to departure, 2009. Photographer: Nicholas Mangan.

Coral limestone sample being weighed at Nauru International Airport in Boe, Nauru prior to departure, 2009. Photographer: Nicholas Mangan.

Nicholas Mangan, *Dowiyogo’s Ancient Coral Coffee Table*, 2010, coral limestone from the island of Nauru, 120 × 80 × 45 cm. Photographer: Nicholas Mangan. Michael Buxton Collection.

Nicholas Mangan, Dowiyogo’s Ancient Coral Coffee Table, 2010, coral limestone from the island of Nauru, 120 × 80 × 45 cm. Photographer: Nicholas Mangan. Michael Buxton Collection.