Art Gallery of New South Wales unveils opening program for transformation and expansion

Villar Rojas’ The end of imagination will occupy the former 2,200 square meter oil tank, which has become a spectacular exhibition space. The installation is the culmination of a four-year engagement with the art gallery of Villar Rojas, known for its site-specific collaborative sculptures, including on the roof of the Metropolitan Museum of Art in New York in 2017.

Completion of Art Gallery of New South Wales expansion not only offers more art for more people, but also unveils a hidden treasure – an old WWII naval fuel tank masterfully repurposed into a world-class exhibition space, where visitors will be able to view this first Commission TankThe End of Imaginationsaid Minister Franklin.

“Adrián is internationally recognized for his expansive site-specific installations that provide immersive artistic experiences. On behalf of the Government of New South Wales, it is with great pleasure that I welcome you to discover his work from December 3rd.

“The world’s major cities encourage experimentation and adventure in art and The end of imagination is a new exhibition hosted in an exciting new space for Sydney, presented by the state’s major tourism and events agency, Destination NSW, in collaboration with the Art Gallery of New South Wales.

“I look forward to the expanded art gallery attracting visitors from across the state, the country and around the world as we open this must-visit destination for art in the nation’s cultural capital,” said the minister. Franklin.

“It is a rare experience for a museum director to open an art space as architecturally distinctive and as steeped in history as the Tank. I am delighted that we are presenting the work of Adrián Villar Rojas as the inaugural commission for this unique artistic experience in Sydney,” added Dr Brand.

“The project that has grown over the next four years is the product of many hands, many minds, many conversations, many questions and many mediums, including the virtual and the physical,” Villar Rojas said. , who first visited the art gallery in 2018.

“And one of the most important mediums has been time – time to dwell in a space, to talk with everyone from archivists to Indigenous curators to conservators, to push ideas and technologies, and to draw into the project the conditions of a world that has changed enormously.”

“While I have been fortunate enough to work in many unique cities and sites and remarkable museums, from the roof of the Met in New York to an island off the coast of Istanbul, this project in Australia is special, not only because I ‘ai I have been entrusted with such a unique space on Gadigal Country, but because it reminds me of many conversations with many caring and generous people over the course of four years in remarkable places in your country.

“My team and I hope it is evident from the incredible amount of love and work that has gone into the project that you will eventually see, how honored we are to be welcomed here into this exceptional new art space for our first project in Australia,” said Villar Rojas.

Site specific commissions
Nine bold and compelling new commissions to be displayed inside and outside the new building include that of Francis Upritchard Here is everyone, a trio of pairs of playful bronze beings that will welcome visitors to the Welcome Plaza; by Jonathan Jones bial gwiyuno (the fire is not lit yet), a living work of art at the heart of the expanded art gallery; and the moving image work of Lisa Reihana (Ngapuhi, Ngati Hine, Ngai Tu) GROUND LOOP, overlooking the central atrium.

Multi-panel painting by Richard Lewer On site, construction of the Sydney Modern which resides on the lands of the Gadigal of the Eora Nation, which records some of the people involved in the construction of the new building; and that of Yayoi Kusama Flowers that bloom in the cosmoswill be prominently displayed on the tiered terrace overlooking Woolloomooloo Bay.

“The works resonate and connect with the strong and ongoing Indigenous history of this place,” said Associate Director and Director of Collections Maud Page. “They amuse, confront, challenge and delight in a variety of ways, drawing on a myriad of narratives, from science fiction to particular stories from this part of the world.”

“Several of them favor First Nations knowledge. Asian voices also feature prominently, as do, of course, Australian perspectives. Each order was chosen to respond to our collection, to the lyrical architecture of SANAA or simply to document the construction site.

“Many commissions deal with pressing social issues: migration, displacement, labor value and climate change. They are as aesthetically varied as they are rigorous and powerfully herald new stories of art to be written from here,” Page said.

Ryan H. Bowman