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

Some Kinds of Duration

(2011)

An interest in the Walter Burley Griffin Pyrmont incinerator Sydney Australia began with an image from the Powerhouse museum archives of the building in a state of severe decay. Although I knew the building was situated in inner Sydney on the once industrial waterfront it appeared displaced, out of context and somehow out of time.

The building sat decaying exposed to the elements for 20 years and there was much conjecture as to its future and possible restoration after witch decay had set in on the building. Community outcry and protest waved the flag for cultural heritage but this was squandered by the wheels of progress and the building was Flattened to make way for a redevelopment project For water front apartments. Only hours before the building was demolished staff from the powerhouse museum were able to pry some of the ornamental elements from the buildings façades.

I began to think about a project concerned with the history of this building departing from this one particular image. I photocopied the image and pinned it to the wall of my studio. There was something very Romantized/picturesque about the image in the way the building was framed, it also spoke to me about lament — about the attempt to capture the passing of a moment. The photocopied reproduction of this particular image of the building seems to augment this with its dull blacks and bad toner quality, which erode the clarity of the image. By reproducing the image it was it’s self entering into a cycle of decay. It became clear The bases of the project would be centered around the themes destruction and reproduction.

_Some Kinds of Duration_, 2011. Installation View, CCP - Centre for Contemporary Photography, Melbourne Australia, 2012. HD video colour, silent, concrete, fluorescent light, steel, carbon.

Some Kinds of Duration, 2011. Installation View, CCP - Centre for Contemporary Photography, Melbourne Australia, 2012. HD video colour, silent, concrete, fluorescent light, steel, carbon.

_Some Kinds of Duration_, 2011. Installation View, CCP - Centre for Contemporary Photography, Melbourne Australia, 2012. HD video colour, silent, concrete, fluorescent light, steel, carbon.

Some Kinds of Duration, 2011. Installation View, CCP - Centre for Contemporary Photography, Melbourne Australia, 2012. HD video colour, silent, concrete, fluorescent light, steel, carbon.

Trawling the green files of the powerhouse museums archives I came across photocopied architectural heritage consultant plans as well as formal letters discussing plans to save the decorative elements on the incinerator before is imminent destruction. My original idea was to tell the story of the demolition of the Pyrmont incinerator though the photocopied achieve material and through the function of a photocopier itself; drawing a connection through carbon — the incinerator reducing matter to carbon and a photocopier using carbon to reproduce.

Having previously worked for Frank Lloyd Wright, Griffin’s architectural style was late art deco c1930’s. The Art deco movement coincided with the renewed 20th century archaeological discoveries in Egypt and the America’s. The ornamental relief of the Pyrmont incinerator was in fact was heavily inspired by pre Columbian architecture of Meso America. Architectural historians have tied Griffin’s references to the “Mayan Palace of the Governor ” of Uxmal in Yucatan, Mexico. Griffin had in fact traveled to the Yucatan on a field trip. In its last days before being demolished the Pyrmont incinerator’s resemblance to a Mayan ruin is uncanny. Overgrown in tundra shrubs and trees, crumbling and covered in it’s own sacrificial soot and ash.



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