Podcasts about australian pavilion

An interactive yarn exploring earth, sound, and touch through Indigenous design and knowledge systems. How do we engage with earth, sound, and touch to deepen our connection to the environment? In our second BLAKitecture forum, audiences gathered around Bradley Kerr (Windsor Kerr), Clarence Slockee (Gardening Australia), Deborah Cheetham Fraillon AO, and Kaylie Salvatori (Country Oriented Landscape Architecture) for an interactive yarn exploring sensory engagement and design grounded in Indigenous knowledge systems. Linked to the Australian Pavilion for the 2025 Venice Architecture Biennale, this conversation considers our relationships with all living things and reflect on “home” as a convergence of memory, sensation, and future. Led by a Creative Sphere of First Nations architects and practitioners, HOME challenges conventional architectural practices and fosters deep connections through sustainable, culturally rich design and programming.

An interactive yarn with the creative team behind 'Home' as they prepare for the 2025 Venice Architecture Biennale. Celebrate the opportunities of understanding and shared perspectives on what ‘home' means with Bradley Kerr and the 2025 Creative Directors of the Venice Architecture Biennale's Australian Pavilion as they share insights on their exhibition HOME.  HOME will present an immersive, culturally rich experience grounded in Indigenous Knowledge systems and architectural innovation. “HOME is a generous and timely offering to the Venice Architecture Biennale that will welcome visitors as active contributors and participants. Through design, enlivened public conversations, cultural practice and ceremony, we will facilitate a shared and collective experience that resonates with international audiences and recognises the criticality of First Nations knowledge.”- Emily McDaniel, Co-Creative Director   MPavilion's annual BLAKitecture forum aims to centralise Indigenous voices in conversations about architecture, the representation of histories, and the present and future states of our built environments. The eighth BLAKitecture series features three talks responding to our program series, curated by Bradley Kerr, a member of MPavilion's Curatorial Collective.  HOME is supported by the Australian Institute of Architects, Brickworks and Creative Australia.

As thousands in the medical technology sector headed to Toronto, Canada for The MedTech 2024 Conference, MTPConnect was making sure that the 18 companies and organisations joining the Australian delegation were given opportunities to showcase their capabilities and make valuable US and international connections with a stopover in the medtech hub of Minnesota, before hitting Toronto.In this podcast special from North America, our MTPConnect CEO Stuart Dignam caught up with Kylle Jordan from Destination Medical Centre at the Mayo Clinic campus in Rochester Minnesota ahead of the Medtech conference to find out more about the 20-year initiative underway to expand the hospital precinct as a global medical care destination.Then it was on to the three-day MedTech Conference. MTPConnect signed an MoU with Medical Alley and Stuart talks with their new president and CEO Roberta Dressen about working together to foster global partnerships in health technology.Stuart was on the ground at the Australian Pavilion and caught up with some of Australia's medtech movers and shakers including iYarn's Founder and CEO Lockie Cooke, University of Melbourne's Principal Research Fellow, Optometry and Vision Sciences, A/Prof Lauren Ayton, Materia Health's Founder, Dr Emily Zhen as well as the delegation's major supporter, Global Victoria's Carolin McCaffrey.   The Team Australia delegation was supported by our major sponsor the Victorian Government, through Global Victoria and Invest Victoria, as well as support from NSW Health and AusBiotech.

Back in June, MTPConnect led the Australian delegation at BIO 2024 in San Diego organising a range of activities to showcase Australia's innovative life sciences sector to the international biotech industry. With a powerful #TeamAustralia focus and a 500-strong delegation from Australia, BIO2024 was the biggest and best ever! In this BIO Bites episode, hosts Caroline Duell and Stuart Dignam catch up with Australian and global companies, entrepreneurs and researchers doing business at BIO and find out what all the buzz is about at the world's largest biotech partnering event. We take a tour around San Diego's ecosystem catching up with Rachel Rath from the Blue Knight Initiative at J&J Innovation's JLABS who are supporting early-stage companies, and Dena Marrinucci from US startup Truvian Health who are working with Planet Innovation on a portable blood testing platform. At the Australian Pavilion we chat with University of Adelaide 's Prof Mark Hutchinson on defence and the SABRE Alliance and find out how statistics and AI are adding value to the life sciences sector with Adelaide Data Science Centre's Dr Melissa Humphries. Topelia Australia's David Fox talks about their antiviral therapeutic targeting coronavirus infections, Bridgewest Ventures' Saum Vahdat explains their investment in drug manufacturing in Australia and Attentive Science Australia's Holly Stefl discusses their recent expansion into the clinical trial ecosystem in Australia. 

Back in June, MTPConnect led the Australian delegation at BIO 2024 in San Diego organising a range of activities to showcase Australia's innovative life sciences sector to the international biotech industry. With a powerful #TeamAustralia focus and a 500-strong delegation from Australia, BIO2024 was the biggest and best ever! In this BIO Bites episode, hosts Caroline Duell and Stuart Dignam catch up with Australian and global companies, entrepreneurs and researchers doing business at BIO and find out what all the buzz is about at the world's largest biotech partnering event. We take you to the Australian Global VIP Networking and Business Reception held on Coronado Island, as special guest John F Crowley, BIO's President and CEO, welcomes guests in a very inspirational way and Australia's Minister for Industry and Science the Hon Ed Husic MP who spearheaded the delegation, makes an address to the global audience to raise Australia's credentials as a global hub for advanced biomanufacturing and clinical trials. We take in a site visit tour around San Diego's ecosystem and catch up with Illumina's Dr Emma Ball about the latest in DNA sequencing technologies enabling research discovery and personalized health. And head to the Australian Pavilion to chat to Pending AI's David Cardoso about their drug discovery platform enabled by artificial intelligence and quantum mechanics, Gelomics' Christoph Meinert discusses their 3D cell culture technology for animal-free research and Bellberry's Kylie Sproston discusses the lure of Australia as an attractive destination for clinical trials.

Archie Moore: kith and kin / Australian Pavilion at Venice Art Biennale 2024. April 19, 2024.Official description: First Nations peoples ...

In this episode of Icelandic Art Center's Out there podcast we spoke to the curator Heiðar Kári Rannversson who has been keeping busy with a few exhibitions recently opened locally in Iceland. We discuss the exhibition spring that has sprung in Iceland with a couple of exciting solo exhibitions having opened in Kling & Bang; Andri Björgvinsson and Tara & Silla and the National Gallery; Anna Rún Tryggvadóttir, Þóra Sigurðardóttir and the new iteration of Steina Vasulka's Borealis Installation from 1993 now on display. Heiðar Kári @hkrannversson is an independent curator, art historian and most recently he held a position at the Nordatlantens Brygge in Kobenhavn 2018 - 2022.  He has curated multiple shows across Iceland; The Living Art Museum, the National Gallery and for the Icelandic Art Center. In the episode his most recent exhibitions and projects were discussed including:  Sóley Ragnarsdóttir @soleygendary is a Danish/Icelandic artist that lives and works in Thy, Denmark. Ragnarsdóttir has a sculptural approach to painting, and her works, painted and ornamented with both synthetic and organic materials, hover between figuration and abstraction. She mixes acrylic and epoxy with shells, amber and sea-sanded shards of glass on surfaces of wood, canvas and napkins. Her solo exhibition “Queen of Hearts” curated by HK  is now on display at Gerðarsafn. Þór Vigfússon @arslonga_djupivogur is an artist that lives and works in Iceland. He creates powerful objects with colour, texture, and reflection using prefabricated industrial materials. His deceptively simple works, primarily made of glass, plexiglass, mirrors, and Formica with monotone colour fields, push the boundaries between two- and three-dimensional works. Architecture and space play a vital role in their presentation.His solo exhibition “Numbers, Places” curated by HK is now on display at Gerðarsafn. Outside Looking In, Inside Looking Out is an exhibition that has been traveling around the world and will continue in the coming year with the stopa in Tokyo, Oslo and Paris this Autumn. The exhibition showcases works by established and emerging artists from Iceland. This exhibition project is a collaborative platform between the Icelandic Art Center, the Ministry of Foreign Affairs & Business Iceland, promoting visual art from Iceland abroad. This episode ends with the exhibition of the month segment which is dedicated to the one and only Venice Biennale and its 60th international art exhibition curated by Adriano Pedrosa. Special mentions from the main exhibition include Ahmed Umar's work “Talitin, The Third” (2023) and the Mataaho Collective's installation “Takapau” (2024). For the national pavilions Becky and Tinna briefly discussed the following; Pakui Hardware at the Lithuanian Pavilion, Eimear Walshe's installation at Ireland at Venice, the Nigerian Pavilion with a star-studded artist roaster, Canadian Pavilion's exhibition with Kapwani Kiwanga's installation, Archie Moore's installation at the Australian Pavilion curated by Ellie Buttrose and more! Listen in for a quick review of the cacophony at the Biennale. // Created and produced by the Icelandic Art Center, Out There brings co-hosts Becky Forsythe @beforsythe and Þórhildur Tinna Sigurðardóttir @tindilfaetta in conversation with artists, curators and art professionals at the bokasamlagid.

At the HLTH 2023 conference in Las Vegas, ANDHealth led the Australian Delegation of healthtech companies keen to showcase their solutions to the US market. During the event Pete visited all of the Australian company delegate attendees to learn more about the problem they are solving to bring you this episode today. Guests include Bronwyn Le Grice - CEO of ANDHealth, Peter Cranes - CEO & Co Founder of Nutromics, Scott Taylor - CEO & Co Founder of Perx Health, Nishanth Krishnananthan - CO-CEO of Vantari VR, John Kelly - CEO & Founder of Atomo Diagnostics, and Francis White - Vice President of Global Business Development at Adherium. The conversation delves into the complexity of the Australian and US healthcare systems, challenges faced by health tech companies, and the importance of understanding these systems for successful market entry and collaboration.Key Takeaways:1. The significance of personal connections and learning from companies with US market experience.2. The importance of targeting the right people, having a focused strategy for meetings, and understanding the unique challenges in the US healthcare market.3. The value of building relationships, understanding the US audience, and addressing the needs of patients, healthcare providers, and employers in the US market.4. Emphasis on the potential for business in the US due to its size, but the need to navigate the complexity of the market.Timestamps:[01:16] Bronwyn Le Grice - CEO, ANDHealth[04:32] Helen Souris - CEO, Cardihab[06:10] Peter Vranes - CEO & Co Founder, Nutromics[09:20] Nishanth Krishnananthan - CO-CEO, Vantari VR[11:58] John Kelly - CEO & Founder, Atomo Diagnostics[13:53] Jill Freyne - Deputy Chief Scientist, CSIRO[15:58] Edwina Wenkart - CEO, PenCS & Kean Seng Lim - Chief Medical Advisor, PenCS[18:46] Francis White - Vice President of Global Business Development, Adherium[22:18] Scott Taylor - CEO & Co Founder - Perx Health[24:00] Shayne Mele - CEO, Scripted Health Technology[26:33] Alex Naoumidis & Chris Naoumidis - Co Founder & Co CEO, Mindset HealthCheck out the episode and full show notes on the Talking HealthTech website.Loving the show? Leave us a review, and share it with someone who might get some value from it.Keen to take your healthtech to the next level? Become a THT+ Member for access to our online community forum, quarterly summits and more exclusive content. For more information visit talkinghealthtech.com/thtplus

Back in June, MTPConnect joined the Australian delegation at BIO in Boston and organised several activities to showcase Australia's fast-growing life sciences sector to the international biotech industry.With a powerful #TeamAustralia focus and a 430-strong delegation from Australia, BIO2023 was literally the biggest and best to date with over 20,000 attendees from 73 countries.In part one of this BIO episode, host Caroline Duell heads to the Australian Pavilion at the Boston Convention Centre to catch up with Australian companies, entrepreneurs and researchers looking to do business at BIO and drive collaborations, partnerships and investments. You will hear from Australia's Chief Scientist Dr Cathy Foley AO PSM, Deputy Premier of Queensland Hon Dr Steven Miles MP, Dimerix CEO Dr Nina Webster, Garvan Institute's Dr Deborah Burnet, CSIRO's Dr Erica Kneipp, St Vincent's Hospital's Dr Megan Robertson, Rhythm Biosciences' Elena Deak, University of SA's Professor Marnie Hughes-Warrington AO, Phage Australia's Dr Ruby Lin, Vaxxas' David L. Hoey, Uniquest's Dr Tamsin Terry, Uniquest's Queensland Emory Drug Discovery Initiative Laura Kearney, Bentleys R&D's Mike Burfield and Clinials' Maree Beare.

Season Five of Interview With An Artist is Gallery Directors from around Australia. Don't give up. Make art because you want to. If you believe in something, keep pursuing it.  These are just a few of the takeaways from the powerhouse that is Alexie Glass-Kantor. Among many things, Alexie is the Executive Director of Artspace in Sydney. Her accolades include spending time as Director–Senior Curator for Gertrude Contemporary, working in curatorial at the Australian Centre for the Moving Image. Not to mention, curating the bone shattering performance of Marco Fusinato for the Australian Pavilion at the 2022 Venice Biennale. In today's episode we talk about  Artspace and what opportunities it provides for Australian artists The exciting next chapter of Artspace with it's redeveloped premises and funded studio spaces And some fascinating stories on the background to the 2022 Venice Biennale show  ___________ For one-on-one mentoring, tailored to your artistic practice book in at www.wilaminarusso.com and sign up the monthly newsletter helping artists take the right next step - The Next Step Interview With An Artist is hosted by Willy (Wilamina) Russo and produced by Cameron Furlong. 

MTPConnect hits The MedTech Conference in Boston, USA, leading a delegation of 18 Australian companies to showcase Australia's outstanding innovative medical technologies and capabilities to the world's largest medtech market. With the creation of the unmissable Australian Pavilion exhibit and a top-level visit program of keynotes and networking events, the mission was supported by Austrade and state partners Global Victoria, Invest & Trade Western Australia, NSW Health, Trade and Investment Queensland and the Government of South Australia.In the second of this two-part special, MTPConnect's CEO Stuart Dignam chats to Medical Alley Association's Vice President of Intelligence Frank Jaskulke ahead of signing an MoU. The agreement will build on an already strong relationship and help support Australian medtech companies and start-ups seeking access to the US Market. Stuart also catches up with some Team Australia delegates making connections in Boston, including, CSIRO's Dr Dharmini Robertson, Singular Health's Martina Mariano, IDE Group's Leah Trend, Crow Clinical's Julie Hicks and Julie Von Grom, WearOptimo's Nicolas Gikakis, Virtetic's Dr Ricardo Garcia Rosas, Customa's Dr Guan Tay, Ferranova's Stewart Bartlett, Datawre's Dr Stephanie Chausis and Mobius Medical' s Stefan Czyniewski.

MTPConnect hits The MedTech Conference in Boston, USA, leading a delegation of 18 Australian companies to showcase Australia's outstanding innovative medical technologies and capabilities to the world's largest medtech market. With the creation of the unmissable Australian Pavilion exhibit and a top-level visit program of keynotes and networking events, the mission was supported by Austrade and state partners Global Victoria, Invest & Trade Western Australia, NSW Health, Trade and Investment Queensland and the Government of South Australia.In this first episode of our two-part special, MTPConnect CEO Stuart Dignam chats to Rachel Rath, Director of the BARDA Alliance for Johnson & Johnson Innovation after Team Australia toured the JLABS life science and healthcare incubator, the newest in J&Js worldwide stable of facilities. He also catches up with Australian cardiologist, Professor Ian Meredith, Executive Vice President and Global Chief Medical Officer from Boston Scientific, Caroline McCaffrey, Director of Investment & Trade at Global Vic and some Team Australia delegates including, iishield's Dr Jeremy Kwarcinski, Hydrix's Peter Lewis, Design and Industry's Adam Donath, Cortical Dynamics' Ashley Zimpel and Jay-Nik's Clare Brown.

As the world's largest Biotech convention, BIO 2022, gets underway in San Diego California after a 2 year hiatus due to pandemic restrictions, MTPConnect's team is on the ground promoting Australian companies at the Australian Pavilion (led by AusBiotech) and attending various events and meetings. In this pacey compilation, MTPConnect CEO Stuart Dignam catches up with the Hon. Stephen Dawson MLC, WA's Minister for Innovation, ICT and Medical Research on the WA Mission to the US.  Stuart talks with ARIA Research CEO and Co-founder Robert Yearsley about the opportunities for connecting at BIO 2022 for their medtech venture. Argenica Therapeutics MD and CEO Dr Liz Dallimore from WA highlights opportunities to meet investors and potential partners as the company moves its novel drug candidate, a neuroprotective therapeutic, towards commercialisation. Distinguished Professor Lyn Griffiths from QUT and Director of the Bridge Program, is in San Diego with nine Australian pitch winners from the Bridge Program (which equips researchers and entrepreneurs with the knowledge, skills and networks needed to commercialise new pharmaceuticals) who are visiting multinational pharma companies. And finally, Stuart wraps up with a final word from Australia's Ambassador to the USA, Hon. Arthur Sinodinos AO, about Australia being open for business and in the sights of US industry.

Professor Natalie King OAM is an Australian arts leader, cultural producer and curator with more than two decades of experience in international and Australian contemporary art and visual culture.Natalie is in full swing right now curating at the 2022 Venice Biennale featuring an extraordinary artist who she has worked tirelessly with to showcase to the world Yuki Kihara.Small island ecologies, climate change, queer rights, Gauguin's gaze, intersectionality and decolonization; these are just some of the topics explored by award-winning interdisciplinary artist Yuki Kihara.Eight years in the making, Paradise Camp is Yuki Kihara's politically urgent and creatively astute project curated by Natalie King. Kihara works across photography, video, archival research and socially engaged methods to present Paradise Camp for the New Zealand pavilion at the 59th International Art Exhibition – La Biennale di Venezia (Biennale Arte 2022).Natalie has a unique cultural footprint and networks in contemporary art, realising landmark programs across Australia, Asia-Pacific and Europe. Working across multiple domains, her highly skilled leadership spans the lifecycle of artistic production and management from new commissions, exhibitions, artistic partnerships, stakeholder relations, fundraising and programming. In 2018, she was nominated for AFR 100 Women of Influence.A huge career highlight was as a Curator of Tracey Moffatt: My Horizon, 57th Venice Biennale, 2017; the first solo exhibition by an Indigenous artist in the Australian Pavilion at Venice Biennale with record attendance, 338,000+ visitors and unprecedented media coverage including Tate, MoMA, Serpentine, Guggenheim Museum, and the Minister of Arts, Singapore, Prime Minister of Ireland and Governor General of New Zealand visiting.For over 120 years, the Venice Biennale has been the most prestigious cultural event in the world with more than 80 participating countries.Working closely with Commissioner (businesswoman and philanthropist), Naomi Milgrom AO on all fundraising to achieve unprecedented financial support Natalie became Commissioning editor of the first book in 10 years on renowned Aboriginal artist Tracey Moffatt: My Horizon, Thames & Hudson, 2017 achieving significant northern hemisphere distribution at TATE, MoMA bookstores with contributions from Professor Camille Paglia (University of Pennsylvania); Germano Celant (Prada Foundation); Djon Mundine OAM (Bundjulung activist, writer, curator); Alexis Wright (Waanyi author and winner of Miles Franklin Award 2007)She was also Chief Curator of the inaugural Melbourne Biennial Lab: What happens now? With City of Melbourne and Melbourne Festival, 2016 at Queen Victoria Market comprising 8 temporary commissions.Natalie's contribution to the Global arts community is a tribute to her tenacity, passion and sense of community and her deep love of the artist and the role they play on telling our stories.

17 November 2021:Marks chats to H.E. Tony S Joudi about the Bahamas Pavilion at Expo 2020. Singer Tabi sings live in the studio ahead of her show at the Australian Pavilion. Abbo is a singer-songwriter who played a big part in the live music scene here in Dubai. And Saxophonist Rusne is a classical sax player who will be taking the stage this weekend. See omnystudio.com/listener for privacy information.

Brandy Scott has been down at Expo 2020 Dubai, getting a sneak peak of the Australian pavilion, and talking about the benefits for companies of taking part. We talk real estate with Anthony Taylor, Head of Real Estate at Emirates NBD Asset Management and their very candid first half Net Asset Value (“NAV”). Plus, the business of beauty and perfume with the one and only Mona Monica Kattan, founder & creative head of Kayali Fragrances. See omnystudio.com/listener for privacy information.

In this lecture, Dr Stephen Gilchrist considers two major exhibitions as key examples of Indigenous curation that encode Indigenous philosophies of critical care and value — 'Aratjara: Art of the First Australians' 1993 at Kunstsammlung Nordrhein-Westfalen, Dusseldorf; and 'fluent: Emily Kame Kngwarreye, Yvonne Koolmatrie, Judy Watson' at the Australian Pavilion, Venice Biennale in 1997. Part of ACCA's lecture series 'Defining Moments: Australian Exhibition Histories 1968–1999'. ABOUT THE SPEAKER: Dr Stephen Gilchrist belongs to the Yamatji people of the Inggarda language group of northwest Western Australia, and is Lecturer of Indigenous Art at the University of Sydney. He is a writer and curator who has worked with the Indigenous Australian collections of the National Gallery of Australia, Canberra (2003–05); the British Museum, London (2008); the National Gallery of Victoria, Melbourne (2005–10); and the Hood Museum of Art, Dartmouth College (2011–13). He was also the Australian Studies Visiting Curator at the Harvard Art Museums, Harvard University (2012–16). Gilchrist has curated numerous exhibitions in Australia and the United States and has written extensively on Indigenous Art from Australia. THANK YOU TO OUR PARTNERS: ACCA's lecture series 'Defining Moments: Australian Exhibition Histories 1968–1999' is presented in association with Abercrombie & Kent and Research Partner, Centre of Visual Art (CoVA) at The University of Melbourne and supported by Art Guide Australia, The Saturday Paper, Triple R, The Melbourne Gin Company, Capi and the City of Melbourne. This lecture video was produced by Gatherer Media: www.gatherer.media Further information: https://acca.melbourne/series/defining-moments/

Penelope Seidler is so accomplished, her list of professional achievements is almost impossible to summarise succinctly! She's an architect and an accountant, she's a member of the National Gallery of Australia Foundation Board, has been a director of Biennale of Sydney since 2010, and sits on the board of the Institute of Architects Foundation in Sydney. She was deputy commissioner for the Australian Pavilion at the 2013 Venice Biennale, and has been a member of the International Council of the Museum of Modern Art in New York since 1973. And in 2008, she was acknowledged as a Member of the Order of Australia. Despite these many accolades, many of us know her best as the wife and professional partner of Harry Seidler, and director of architectural firm Seidler and associates – which continues to operate to this day. It was truly an honour to meet Penelope, and a conversation that I certainly won't forget! I'm really glad we recorded it for you! Recorded at a LIVE event at Fisher & Paykel's Experience Centre in Sydney on July 5th, 2019. Find links and other show notes at https://thedesignfiles.net/podcast

Join award-winning curator and writer Juliana Engberg—recently announced as curator of the Australian Pavilion at the Venice Biennale 2019—in conversation with publisher Louise Adler about 'En Route', a little book about getting lost, an ode to wandering through time and place, and meeting personalities with no fixed addresses. It’s almost impossible to get lost these days; the fastest and most direct route arrives with the press of a few keys. But what of the joys of unexpected discoveries off the grid? Juliana’s new book, En Route, out through Melbourne University Publishing, is all about adventures, and this conversation with Juliana and Louise traversed art, architecture, literature and history. Bump into Greta Garbo, Casanova, the Virgin Mary, or even the Dog on the Tuckerbox.

Elaine Chia is CEO of City Recital Hall,  one of Sydney’s leading arts, entertainment and festival venues. Her career spans music, theatre and visual arts, and she is a passionate advocate for the arts. Elaine’s formal introduction into arts management began with the Australian Youth Orchestra. Her role on her first symphony orchestra tour was to source and coordinate host families for 110 young musicians in 10 cities across Australia. In 1996, she managed the National Music Camp with 240 music students and 100 staff and volunteers. Her role as coordinator, wrangler, persuader and responsible big sister was thus cemented. Elaine’s journey next took her to Belvoir St Theatre as business manager, then to Sydney Conservatorium of Music as marketing and development manager. Elaine moved to Melbourne in 2004 where she took on the role of acting CEO of the AMEB, and later, business and finance manager at Heide Museum of Modern Art. She returned to the Sydney Conservatorium in 2007, to the newly created role of international development manager. She established new off-shore programs and tours in Asia, Europe and the United States. In 2010 Elaine joined the Australia Council for the Arts, where she oversaw the Australian representation at three Venice Biennales, and the redevelopment of the new Australian Pavilion, which opened in 2015 on time and on budget. Both projects were delivered as public-private partnerships. She joined City Recital Hall in 2016 as the first CEO of the not-for-profit company established to manage and curate an annual program at the 1238-seat venue. In 2.5 years, the number of concert and events presented by the company has quadrupled. Elaine is the chair of Contemporary Asian Australian Performance, a resident company at Carriageworks which is dedicated to making exceptional contemporary Asian Australian work for all audiences. She also actively supports the arts as a donor, because she can, and therefore, simply, she should. When Elaine is not living and breathing the arts, she loves to run, mainly to balance out her love of gelato. https://www.cityrecitalhall.com/ https://newstories.net.au/elaine-chia/

In 'Killing time' Ricky Swallow has synthesised his interests in time passing, personal and collective memory, everyday experiences and the history of art. Swallow's earlier sculptures were often carefully crafted duplicates of recently retro items, such as beatboxes and BMX bikes, or reworked record turntables with scaled-down narrative scenarios that blend science fiction and scientific fact. More recently he has made carvings of the animate and inanimate conceived and realised at a ratio of 1:1. 'Killing time' is the most ambitious work that Swallow has made to date and is likely to remain so for some time due to the onerous and time-consuming physical task of working in such detail on this scale. It was the centrepiece of Swallow's solo exhibition at the Australian Pavilion in the 2005 Venice Biennale. While 'Killing time' visually recalls 17th-century Dutch still-life painting and even the work of such a virtuoso illusionist woodcarver as Grinling Gibbons, the subject matter is derived from Swallow’s personal experience. The son of a fisherman, he has faithfully depicted every sea creature that he recalls capturing, killing and eating during his life. The various fish, lobsters, oysters, crabs and others are displayed on a table which duplicates the table around which Swallow’s family ate dinner. While 'Killing time' uses the visual language of a particular genre of painting and wood-carving, it is also an intensely personal act of remembering; it is another 'evaporated self-portrait' as Swallow has described his sculptures, which call on specific personal memories while also having a commonly recognisable subject matter. 'Killing time' is carved mainly from laminated jelutong, a pale coloured hardwood used commercially for prototypes and pattern-making but also by woodworking hobbyists for whittling. The illusionism of the sculpture is emphasised by the attention to detail in the lobster, the lemon peel that hangs over the edge of the table and the rippling folds of the tablecloth pushed to one end. However the monochromatic timber and the dramatic side-lighting, devised by Swallow to create strong shadows and highlights, point to the inherent unreality of transcribing animate form into inanimate materials. There is a loop of commemoration and death that permeates this work, both in the references to the still-life genre and in the fact that the sculptor killed these creatures in the first place, long before carving this de facto memorial. In the 17th century, vanitas still-life paintings portrayed the abundance of natural life and worldly goods to celebrate this abundance while pointing to the fact that it was only transient, just as life itself is. The title 'Killing time' refers to this sense of life stilled in art, to the act of remembering and recording something from the artist’s past, and to the time spent on carving this labour-intensive sculpture. © Art Gallery of New South Wales Contemporary Collection Handbook, 2006

In 'Killing time' Ricky Swallow has synthesised his interests in time passing, personal and collective memory, everyday experiences and the history of art. Swallow's earlier sculptures were often carefully crafted duplicates of recently retro items, such as beatboxes and BMX bikes, or reworked record turntables with scaled-down narrative scenarios that blend science fiction and scientific fact. More recently he has made carvings of the animate and inanimate conceived and realised at a ratio of 1:1. 'Killing time' is the most ambitious work that Swallow has made to date and is likely to remain so for some time due to the onerous and time-consuming physical task of working in such detail on this scale. It was the centrepiece of Swallow's solo exhibition at the Australian Pavilion in the 2005 Venice Biennale. While 'Killing time' visually recalls 17th-century Dutch still-life painting and even the work of such a virtuoso illusionist woodcarver as Grinling Gibbons, the subject matter is derived from Swallow’s personal experience. The son of a fisherman, he has faithfully depicted every sea creature that he recalls capturing, killing and eating during his life. The various fish, lobsters, oysters, crabs and others are displayed on a table which duplicates the table around which Swallow’s family ate dinner. While 'Killing time' uses the visual language of a particular genre of painting and wood-carving, it is also an intensely personal act of remembering; it is another 'evaporated self-portrait' as Swallow has described his sculptures, which call on specific personal memories while also having a commonly recognisable subject matter. 'Killing time' is carved mainly from laminated jelutong, a pale coloured hardwood used commercially for prototypes and pattern-making but also by woodworking hobbyists for whittling. The illusionism of the sculpture is emphasised by the attention to detail in the lobster, the lemon peel that hangs over the edge of the table and the rippling folds of the tablecloth pushed to one end. However the monochromatic timber and the dramatic side-lighting, devised by Swallow to create strong shadows and highlights, point to the inherent unreality of transcribing animate form into inanimate materials. There is a loop of commemoration and death that permeates this work, both in the references to the still-life genre and in the fact that the sculptor killed these creatures in the first place, long before carving this de facto memorial. In the 17th century, vanitas still-life paintings portrayed the abundance of natural life and worldly goods to celebrate this abundance while pointing to the fact that it was only transient, just as life itself is. The title 'Killing time' refers to this sense of life stilled in art, to the act of remembering and recording something from the artist’s past, and to the time spent on carving this labour-intensive sculpture. © Art Gallery of New South Wales Contemporary Collection Handbook, 2006