HE SHE THEY: Gender diversity encourages inclusion at Bunbury Biennale - writer Annette Peterson

ARTICLE HERE Artist's Chronicle March 23, 2021 ANNETTE PETERSON Bunbury Regional Art Galleries is celebrating its first-ever themed Bunbury Biennale: HE SHE THEY. The exhibition features works by 37 Western Australian contemporary artists, selected to consider gender and what it means to them in their art practice. Unified through photography, painting, sculpture, film, and performance, the exhibition displays diverse ideas investigating gender, identity, sexuality, and male, female, or more fluid perspectives. Caroline Lunel discusses her role as Curator, and how, for the first time since the Biennale’s 1993 inception, she has taken a new direction by adopting a theme. The Biennale was initially created to increase the City of Bunbury’s Art Collection. After curating the show five times over ten years, Lunel felt that she was ready for a new challenge to present a more cohesive exhibition. “We have an extensive exhibition schedule each year and a wide range of works in the collection for public access. Having a body of work addressing a particular theme makes for more interesting exhibitions,” she says. Lunel says the topic of gender was carefully contemplated. “Considering it is a hot topic in the arts nationally and internationally, to use it as a theme is timely,” she quips. “There is still so much to be explored on many levels.” She added it was appropriate to call the exhibition HE SHE THEY, given the coincidence of the opening date with International Women’s day and the Sydney Mardi Gras. Artists were personally invited to be part of the Biennale to ensure an inclusive representation of gender backgrounds, such as cis-gender, queer and non-binary or gender fluid. Lunel says she was satisfied with the selection of artists exploring the gender theme using various media, including performance art. “There is a wonderful richness in subject matter,” she observes, “but also a beautiful vulnerability and personal expression in some of the works which isn’t always present in other exhibitions.” Vital to the success of the exhibition was providing a safe environment for artists to address the topic and to be able to express themselves freely. “As we are still learning and discovering about who we are, HE SHE THEY presents a beautiful celebration of humanity and freedom of expression,” says Lunel. The outcome, is a wide variety of interpretations of the theme, from exploring the ambiguity of gender identity and fluidity; to honouring feminism articulated through visual, tactile and written forms. Lunel notes other artworks question stereotypes and gender conformity, investigate archetypes, the positioning of gender, gender in nature, and the consequence of cultural conditioning. Some art dives even deeper into the analysis and decoding of gender philosophy and psychology. Lunel says she was aware many artists felt challenged by the theme but affirms that all delivered beautiful and unique art. When asked which of the artworks stood out to her personally, Lunel said it was Stuart Elliott’s works which touched her most deeply. “It was not surprising,” she clarifies, “His interpretation is broad, in-depth, intelligent, articulate, very witty and very funny, but also exquisitely executed.” Lunel said the acquisitive artworks chosen for the City of Bunbury Art collection correlated to how well the artists addressed the theme and how well the artworks diversify and complement the existing collection. A total of nine artists had works acquired by the City of Bunbury’s Art Collection: Susan Starcken, Andrew Nicholls, Stuart Elliott, Janet Carter, Nathan Beard, Tania Ferrier, Christophe Canato, Sam Huxtable and Carla Adams. When asked why Bunbury was the first regional city to embrace such subject matter, Lunel says it is because they were brave and bold. “We are a regional gallery committed to presenting exciting and inspiring exhibitions to the South-West,” Lunel says. HE SHE THEY extends to a broad audience and ensures the show has content resonating with everyone. Yet, she says, the gallery’s role is to engage, stimulate and encourage new ways of thinking and perceiving the contemporary world. She admits the exhibition will challenge the audience and generate discussion. “Biennale events are generally known to present provocative and controversial exhibitions.” Not surprisingly, Lunel says the exhibition reaches out not only visually but emotionally. “I hope these works may touch people a little deeper and provide a sense of excitement to be alive at this age in time,” she declares. “Art is such an accessible way to build community and provide a sense of belonging and place-making. I do hope it will encourage especially the local South West LGBTQIA community to come and view the exhibition.” Given HE SHE THEY’s success, the question remains, would Lunel and the team choose this theme again for the next Biennale in 2023? Lunel says that they already know what that could be, but they were not giving that away just yet… The show continues until June 6, with ongoing artist workshops, Curator tours and artist talks.

INTERVIEW - He/She/They, Bunburry Biennale 2021 - Western Australia.

 

 

Luxembourg Art Prize 2020

2020 BOTANIC ART PRIZE, 2 November 2020 - 1 January 2021. Gallery 125, York Western Australia

BANKSIA MAN (110cm x 110cm) is inspired by the 1918 published Australian author May Gibbs. It is the adventures of Snugglepot and Cuddlepie and their troubles with the villains of the stories; the Banksia Men, modelled on the appearance of aged Banksia "cones", with follicles for eyes and other facial features. But I am proposing a contemporary version of the Banksia Man where the follicles became part of the man body, the leaves will be placed such as a super hero/villain mask and hairy flowers of the Banksia specimen are completing a fiction decor.

2020 BOTANIC ART PRIZE, 2 November 2020 - 1 January 2021. Gallery 125, York Western Australia

Banksia Man, Christophe Canato’s work is inspired by the 1918 published adventures of Snugglepot and Cuddlepieby Australian author May Gibbs.

 

The central story arc concerns Snugglepot and Cuddlepie and their adventures along with troubles and the villains of the stories; the Banksia Men.

 

In the original series of books the villains "big bad" Banksia Men are modelled on the appearance of aged Banksia "cones", with follicles for eyes and other facial features. But Christophe Canato is proposing a contemporary version with his Banksia Man where the follicles became part of the man body, the leaves will be placed such as a super hero/villain mask and hairy flowers of the Banksia specimen are completing a fiction decor. 

 

To reinforce the notion between fantasy and real, Canato uses multiple layers of photographs to deliver a final image more or less fuzzy, evanescent as in a dream. The powdery colours bring a feeling of serenity and softness to the disturbing character.

 

ANIMA - Perth Centre For Photography, 26 September - 07 November 2020

 ANIMA. The inner feminine side of a man.

 

Christophe Canato has made his name in France, Australia and Singapore as a photo-media artist. His work examines male roles and identities in our contemporary western contexts. Canato is interested about exploring social issues such as politics and religion, including physical identities and sexual orientations.What questions this artist is the notion of belonging or rejection and the status that man is supposed to hold in society. 

 

Canato’s new work Anima is an immersive, polychromatic photographic series that is exploring the inner feminine side of the man.

 

The Anima is both a personal complex and an archetypalthat expresses the fact that man psychehas a minority of feminine qualities according to psychologist Carl Jung (26 July 1875 - 6 June 1961). It is an unconscious factor incarnated anew in every male child and is responsible for the mechanism of projection. The Anima versus Animus are described by Jung as part of his theory of theCollective unconscious.In every man there is a woman and in every woman a masculine side, her Animus.

 

On the other hand, one of the factors that the artist likes to take into account in his research is the colour of the skin. But this time Canato is interested in the extraordinary character of the imaginary skin colours such as blue, green, red or white although making references to codes recognizable by all. To name a few Krishna or Shiva as part of the Indian divinities and in another register James Cameron’s fiction Avatar.

 

 

Biography

 

Born in France, Christophe Canato undertook postgraduate studies in Grenoble and Paris, where he continued to live and work before moving to Perth Australia in 2005. His work has been exhibited in more than fifty solo and collective exhibitions including the National Portrait Gallery in Canberra. Multiple prize winner Christophe Canato’s photographs are also included in public collections such as Artbank Australian Federal Government collection. His series are published internationally in France, England, Australia including the Chinese magazine Photoworld with a eight page publication, March 2020.

SPRING, mentoring program for visual artists

SPRING MENTORING FOR VISUAL ARTISTS
With Christophe Canato
APPLY HERE: artsource.typeform.com/to/MiWYYnrH

Christophe is a French-Australian photographer and photomedia artist based in Perth since 2005, having graduated from the Beaux-Arts in France. Over the past 25 years, he has extensively exhibited with more than 17 solo exhibitions and about 40 collective shows in Australia, France and Singapore. His work has won multiple prizes and awards such as Minawarra Art Award WA, International Photographic Award USA, Jeune creation Fr. One of his photographs is currently on show at the National Portrait Gallery of Canberra. His work is included in Artbank, Australian Federal Government collection, St John of God collection, Joondalup City Council collection, City of Wanneroo collection including La Sacem and Business & Decision French collections. Christophe was a board member of Art On The Move from 2015 until 2019. Christophe is also an experienced commercial photographer including extensive collaborations within the visual art and performing art sectors with organisations such as Art Gallery of Western Australia, PICA, Lawrence Wilson Art Gallery, Artsource, DADAA, WAPPA, Strut Dance and Ausdance. He also documented multiple individual artist artworks.

Christophe will meet with artists for up to 8hrs over a three-month period to mentor on developing new projects and career adaptation. The partnership will evolve across the following areas:
Establishing the relationship - getting to know and learning from each other
Setting the direction - how Christophe as a mentor will be able to help you progress
Progression - reflection, adjustment and accomplishment
Winding up - what is next in your respective careers
Moving on - remain as colleagues in the visual art sector.

APPLY HERE: artsource.typeform.com/to/MiWYYnrH

More information about mentoring: artsource.net.au/mentoring
More information about Christophe: christophecanato.com

@deptlgsc @lotterywest @artsourcewa@christophecanato @fluxgalleryperth#artmentor #westernaustralia #art#waart #madeinwa #contemporaryart#springartsmentoring#christophecanato 

Eight pages publication in the Chinese magazine PHOTOWORLD n°459 - 2020/March

English version accessible soon

Artist Talk, 2019 National Photographic Portrait Prize finalist

 

Finalist - National Portrait Prize 2020 - NATIONAL PORTRAIT GALLERY, CAMBERA

Finalist - 2020 MANDORLA Art Award, Western Australia

Take a look at this panel of pro’s at ART ON THE MOVE today who are assessing the recent touring exhibition applications!

Left to right: Olivia Nichols, Ron Bradfield, Eve York, Christophe Canato, Kim Jameson, Robert Cook and Jim Cathcart.

ART ON THE MOVE

HEARSAY, group exhibition, 8 July – 31 August 2019, Wanneroo Art Gallery, 3 Rocca Way, Wanneroo, Western Australia

Featuring Christophe Canato, Rebecca Dagnall,Claire Davenhall, Michael Doherty, Tom Freeman, Jarrad Martyn, Ron Nyisztor,  Anna Louise Richardson, Swamp Clubb and Wade Taylor.

HEARSAY shares fireside tales; from the ghostly Alkimos wreck, big cat sightings and UFOs, to daredevil feats of the Birdman Rally and the adventures of Moondyne Joe. Set to the backdrop of the shipwreck coast and the Gnangara pines, and drawn from the rich history of the Wanneroo region, this exhibition blurs the line between fact and fiction.

Bunbury Biennale 2019 Artist Talks - Christophe Canato

ARTIST TALK click here

The Bunbury Biennale 2019 is a prestigious art exhibition, showcasing the latest of contemporary art from around Western Australia. This year’s opening night saw over 400 art lovers celebrating the fantastic work on display at the Bunbury Regional Art Gallery. Christophe Canato’s body of work is a longstanding examination of the male gender role, identity and sexual orientation in cultural, politics and religion contexts. In his photography, the staged male body expresses ambiguities between form and representation. BUNBURY BIENNALE runs 18 May - 21 July 2019 | BRAG is open daily | 10am - 4 pm | Free entry For more information about the Bunbury Regional Art Gallery head to www.brag.org.au or find us on Facebook and Instagram.

Artist Profile Christophe Canato, 2019 BUNBURY BIENNALE. Exhibition 18 May - 21July 2019, BRAG Western Australia.

ARTIST PROFILE – CHRISTOPHE CANATO

French-Australian Christophe Canato lives and works in Perth, Western Australia since 2005. Canato’s body of work is a longstanding examination of the male gender role, identity and sexual orientation in cultural, politics and religion contexts.

In his photography, the staged male body expresses ambiguities between form and representation.
It is not only the representation of the body that challen
ges this artist but the equivocal proximity between the subjects in the scenes represented (the gesture, faces position) and the reading that each of us sometimes makes to the detriment of the artists themselves.

BUNBURY BIENNALE opens Saturday 18 May, 6pm - 9pm. Entry is free and all are welcome. See you there!

Image: Christophe Canato, Ascension, 2019, digital photograph, 100 x 150 cm.

2019 Gerry Gauntlett Award winner

© 7to1 Photography

Four talented Perth based artists were awarded for their talents in the Minnawarra Art Awards, the signature event for the Armadale Arts Festival (3-19 May) at a special event on Thursday 2 May. 

Kathryn Haug from Mt Richon won the Local Artist Award for her artwork Yellow Paintbrush and Jenny Herbet from Mt Richon received Highly Commended for Havana Chic – Keeping up appearances.

Christophe Canato from Bayswater was also awarded the coveted Gerry Gauntlett Award for Fanrandole and Linda Banazis from Hamilton Hill received the Stockland Sculpture Prize for Those were the times. 

Mayor Henry Zelones OAM, JP said 88 artists were selected to exhibit in this year’s Art Awards with a total of 114 artworks.

“On behalf of the City I would like to congratulate all the winners, especially our local artists.

“This years’ exhibition is rather special for the City as we are able to return to our newly renovated Armadale District Hall to showcase pieces across various mediums of paint, photography and sculpture.”

Judges for the Minnawarra Art Awards were Louise Dickman and Trevor Richards.

The public is invited to view the Minnawarra Art Awards, held as part of the Armadale Arts Festival, each day from 11am to 4pm until Sunday 19 May at the newly renovated Armadale District Hall.  

The exhibition entry is free. The Armadale Arts Festival is presented by the City of Armadale and supported by Lotterywest and the Examiner Newspaper.

Photo gallery of the event © 7to1 Photography

winner of the 2019 Gerry Gauntlett Award - Christophe Canato, Farandole - Minawarra Art Awards, City of Armadale, Western Australia.

Farandole 2018 © Christophe Canato

Gallery photo opening night

FINALIST - Mid West Art Prize 2019

FINALIST - Mid West Art Prize 2019, list of the finalists here

At The Intersection of Friendship, review by Miranda Johnson - SEESAW, December 2018

Review, click here

© Christophe Canato 2018

Ajouter une légende

© Christophe Canato 2018

Leçon De Choses, article de Jean-Louis Roux - Les Affiches De Grenoble Et Du Dauphiné, 7 décembre 2018

Le Petit Bulletin, article de Benjamin Bardinet, mardi 4 décembre 2018 - Cet Etrange Objet Du Réel

Article clique ici

© Christophe Canato 2018

GALVANISE. Collective exhibition 7th of December 2018 - 5th January 2019

Collective States. collective exhibition, Art Collective WA, 30 November 2018 - 22 December 2018

Collective States

Artists: Collective States
30 November 2018 - 22 December 2018

Precinct 9 - 2018 © Christophe Canato

Collective States investigates points of connection between artists working across media in WA. The exhibitiontraces not only the diversity of expression and creation in contemporary art practice, but also the ability of artists to broadly explore different directions within their own art practices. The intent of the curatorial collaboration was to showcase a selection of mid-career artists whose enduring and dedicated practice has consistently led to exploratory investigations informed by decades of knowledge and research. While artists were not asked to work to a theme or pigeonholed by style or methodology, the exhibition has given voice to a series of personal and universal narratives revealing the influences and experiences that have shaped their artistic practice.

Featuring work by Christophe Canato, Jennifer Cochrane, Mel Dare, Louise Dickmann, Jane Finlay, Indra Geidans, Paul Kaptein, Susan Roux, Vanessa Russ and Lynnette Voevodin. Guest Curator: Paola Anselmi.

About Art Collective WA

Successful opening night this November 2018 22nd at Espace Vallès. Cet Etrange Objet Du Réel

Article, Jean-Pierre Chambon. Périphériques N° 86. Revue culturelle d’information trimestrielle - Sept 2018.

Art contemporain

Cet étrange objet du réel
Espace Vallès - 22 novembre, 22 décembre 2018

L’exposition Cet étrange objet du réel, détournant le titre illustre d’un film de Buñuel et lâchant l’obscur désir pour un étrange réel, rassemble sur les murs de l’Espace Vallès six artistes très différents : Christophe Canato, Manuel Dessort, Estelle Jourdain, Nadine Lahoz-Quilez, Johan Parent et Philippe Veyrunes. À travers la confrontation de leurs œuvres, les animateurs du centre d’art contemporain martinérois – Frédéric Guinot et Bertrand Bruatto – ont voulu susciter une sorte d’enquête. Ce n’est pas tant le réel de tout objet qui est ici interrogé que le sentiment d’étrangeté de chaque proposition et de ce que leur rapprochement provoque. Et c’est bien la définition possible de l’œuvre que vise, en filigrane, cette investigation : ce qu’on peut percevoir et comprendre de cet étrange objet du réel, ce qui en lui forme attirance. À chaque regardeur d’esquisser sa réponse, de décoder à sa manière le réel et ses objets exploratoires, de capter surtout l’étrange résonance qui en émane.

J-P.C.

Christophe Canato
Les images produites par le photo- graphe et vidéaste Christophe Canato (il vit en Australie après avoir étudié à l’École d’art de Grenoble) sont empreintes d’une certaine dramatisation. Un obser- vateur avisé a caractérisé son travail et sa vision de « roman- tisme ironique », indiquant par-là la distance que l’artiste inscrit dans son penchant à l’expres- sion du sentiment. Prolongeant une série de photographies inti- tulée Ricochets, une vidéo donne à voir un rituel nocturne entre deux garçons affublés de masques d’animaux. Les gestes qu’ils esquissent en guise de langage codé, s’ils tiennent de l’imagi- naire du jeu d’enfants, suscitent une inquiétante étrangeté, tant le mystère de leur signi cation nous échappe. Extraite d’une autre série, une photographie de deux hommes prête à une lecture ambiguë sur le thème du double.

Galerie De Portraits 2018 © Christophe Canato

Manuel Dessort
Peintre et décorateur, Manuel Dessort (il a étudié à l’École d’art de Dijon puis Paris et vit dans la région grenobloise) mène en parallèle à son activité profes- sionnelle un travail de peinture et de dessin sur papier, tout en revendi- quant un lien naturel avec le chantier, son univers quotidien. Il considère que « tout support blanc immaculé est indécent et doit être investi ». Partant de ce principe catégorique, il « lâche tout » et, musique à fond dans l’atelier, révoquant l’ennui et armé de couleurs, il se jette « sur le vide papier que la blancheur défend », qui obnubila Mallarmé. Les in uences que Manuel Dessort énumère – Twombly, Basquiat, Van Gogh, Eugène Leroy, Richter et Debré – transparaissent dans l’énergie sauvage qui anime sa touche et la profusion de sa palette. L’organisation spatiale et rythmique de ses œuvres portent un écho des musiques écoutées au moment de leur réalisation.

Estelle Jourdain

Estelle Jourdain (elle a étudié à Montpellier puis à l’École d’art de Valence et vit à Avignon) utilise conjointement deux médiums : la sculpture et la photographie. Elle veille avec sa sculpture, toujours en métal et très structurée, au rapport avec le lieu dans lequel celle-ci trouvera place. Par cette démarche in situ, elle questionne l’espace a n de pouvoir mieux l’appréhender. Avec la photographie, elle capte le réel pour s’en éloigner davantage. « Le sujet, isolé du contexte initial, perd son rapport d’échelle dans un espace épuré. Il est transformé par la lumière jusqu’à frôler parfois l’abstraction, laissant place à l’évocation, la sensation pure », écrit-elle. Sculpture et photographie se rejoignent lorsqu’elle intervient sur ses images en les brodant d’un l métallique dont le tracé s’adapte au contenu, retrouvant par ce geste sa façon d’agir sur l’espace et son volume.

Nadine Lahoz-Quilez

Le travail plastique de Nadine Lahoz-Quilez (elle a étudié à l’Université de Strasbourg et vit dans la Loire) se développe essen- tiellement autour du corps considéré dans une approche sociétale. Elle s’attache à tout ce qui le pare et l’investit d’une signi- cation symbolique : tatouages, vêtements, masques, ornements. Elle s’intéresse aussi à son enveloppe, comme à ses organes ou à sa pilosité, le poil étant ici comparé au l dont est constituée une vêture. La ré exion qui guide ses recherches l’entraîne à convo- quer un imaginaire foisonnant et nombre de ses réalisations s’apparentent à des rituels ou des accessoires cérémoniels. Ses créations peuvent prendre la forme de dessins, de performances, d’installations ou d’objets. Les Objets de vénération, une série sur laquelle elle travaille actuellement, se présentent comme des vanités baroques, les métaphores ésotériques qu’aurait élaborées une peuplade chimérique.

Johan Parent

On peut inscrire la production de Johan Parent (il a fait ses études à l’École d’art d’Annecy et vit à Grenoble) dans la lignée des machines célibataires de Marcel Duchamp ou de celles, plus burlesques, de Jean Tinguely. Il réalise, selon sa dé - nition, des « performances d’objets », des œuvres hybrides combinant installations, vidéos et dessins, où des objets familiers se mettent à fonctionner de manière autonome. Ces dispositifs sont animés d’un mouvement mécanique dépourvu de toute nalité. Leur automatisme absurde parodie les aspects kafkaïens de nos univers techniques déshuma- nisés. En mettant en service ses machines autosuf santes et contre-productives, Johan Parent questionne ainsi l’un des malaises de notre époque où l’objet prend souvent une place inquiétante.

Philippe Veyrunes

Concepteur lumière et scénographe pour le spectacle vivant, Philippe Veyrunes (il a étudié à l’École d’art de Dijon et à l’Academy of art de New York et vit à Grenoble) développe parallèlement un étonnant travail de dessin. Sur des feuilles de très grand format, il aligne à la mine de plomb des milliers de traits comme s’il tissait la trame d’une étoffe inconsis- tante faite de très ns ls d’ombre. Il se laisse guider par la courbe du geste qu’il improvise et répète in niment, avec une patience sans faille. Par moments, par endroits, la main suspend son geste et consent une éclaircie dans la nuée de traits, ouvre une clairière dans la frondaison des coups de crayon. Ces lacunes aux contours aléatoires où le papier est laissé à sa blancheur ébauchent des formes suggestives, créent des gures indécises, inabouties ou naissantes, des schèmes ottants que délivre la trame vibratoire de la composition. Paradoxalement, par la retenue et l’absence, le dessin peut dévoiler un processus d’apparition.

La culture à Saint-Martin-d’Hères - de septembre à décembre 2018 - n° 86