Events/Openings

VIDEO ART | GROUP EXHIBITION

SARAH MARTINUS | DOROTA LECH

OPENING | 4TH MAY 2012 | 8 PM

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The artists will be present at the opening night.

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SARAH MARTINUS
is an Australian designer crossing the boundaries between Fashion Design, Fine Art and Performance. She completed a B.A of Design (Fashion) at RMIT University, Melbourne, and was a former part of the infamous SPILL collective. She currently lives in Berlin, Germany, and is planning exciting things.

Obsessed with the churning cycles of the universe, the human body and the ways these bodies interact with the world; Sarah builds an all-excessive, all-pink, hyper-real universe filled with food and female pheromones.

ABOUT THE PROJECTS
Consumable femme soft-porn with a nasty, dirty undertone.

BUFFET // Small story of a consumption loop (originally meant to be played in a loop) Directly related to the fashion industry and consumption, the churning of trends styles, plagiarism and copyright.

SUGA MOUTH // Hypnotic grotesque imagery of the mouth in hypercolour pink of the mouth, drawing likeness to the womb.

MILK // (EXCLUSIVE SCREENING)
Experimentation milk bath in white pink and green, focusing on undertones of soft porn and burlesque. Mostly about the Gaze of society on women as sex objects.

SOAP // (EXCLUSIVE SCREENING)
Oozing and gooey substances churn through what looks like the inside of an intestine, but in reality it is harmless pink soap. This video deals with the idea of what is clean and dirty, in texture, colour and sound. Visceral, wet, sexual. Finger fucking.

www.sarahmartinus.com

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DOROTA LECH
was born in 1985 in Lubin, Poland. She completed a M.A. in Political Science and Women's Studies from Mcgill University in Montreal. Her work is centred on themes of process-based labours of love, nostalgia, gendered tasks, and ideas of home. She currently works as a film producer and artist; and divides her time between Berlin and Toronto.

ABOUT THE PROJECTS
Dorota is a filmmaker whose interests in social and political critique are balanced with a passion for documenting the personal endeavours of her loved ones.

"Babcia Watch" and "Grandfather Clock" present observations on process-based labours of love. Close-up shots and revolving angles encircle the seemingly constant movement of handiwork highlighting the often forgotten physicality of the prosaic gesture of household chores. More than this, each short film calls attention to the passage of time with reference to the presence of timepieces in the title.

Unlike the previous films which feature domesticity as their subject, "Semana Santa" offers perspective from the vantage of the casual observer; disassociating audience from spectacle, Lech observes tradition from a distance.