03. Paul Yore, SEEING IS BELIEVING BUT FEELING IS THE TRUTH 2022. Installation view, Rising, Golden Square, Melbourne, 2022. Photographer: Rémi Chauvin.
Paul Yore: WORD MADE FLESH is an extensive survey exhibition encompassing the full scope of the artist’s work, and includes a major new room-scaled installation developed especially for the exhibition. Continuing ACCA’s Australian solo series which highlights the work of significant and influential contemporary Australian artists, WORD MADE FLESH is constructed maximally as a gesamtkunstwerk, presenting work from the past fifteen years, including appliquéd quilts and needlework, banners and pendants, collage and assemblage, and large-scale mixed media installations.
Paul Yore, Welcome to hell 2014. Buxton International Collection, Melbourne
Paul Yore is one of Australia’s most thought-provoking and consequential multidisciplinary artists. Born in Naarm/Melbourne in 1987, he lives and works on Gunaikurnai Country in Gippsland, Victoria, and completed his studies in painting, archaeology and anthropology at Monash University in 2010. Yore’s work engages with the histories of religious art and ritual, queer identity, pop-culture and neo-liberal capitalism, recasting a vast array of found images, materials and texts into sexually and politically loaded tableaux and assemblages which celebrate hybrid and fluid identities, unstable and contradictory meanings, and the glowing horizon of queer worldmaking.
Paul Yore, The darkest secret of your heart 2016. Sishang Art Museum Collection, Beijing.
Paul Yore: WORD MADE FLESH is structured around five purpose-designed spaces presenting specific bodies of work and discursive contexts: Signs; Embodiment; Manifesto; The Horizon; and Word Made Flesh. This itinerary articulates two key trajectories in the artist’s work: the first charting the development of Yore’s textile practice, beginning with small, embroidered works through to large-scale appliquéd quilts, which variously draw on the traditions of classical Greek art, decorative Flemish and French tapestries, trashy pop-culture, gay porn, cartoons, psychedelia, narrative and history painting, as well as the decorative semantic excesses of rococo style.
This immersive installation imagines a queer alternative reality, erected from the wasteland of the Anthropocene.
The second trajectory is represented in a new kaleidoscopic, architecturally-scaled installation, anarchically composed of improvised makeshift structures, mixed media sculpture and found objects, collage and assemblage, painting, video, sound and light. This immersive installation imagines a queer alternative reality, erected from the wasteland of the Anthropocene, performatively implicating itself into the debased spectacle of hyper-capitalist society.
Yore has exhibited widely since the early 2000s, with notable individual exhibitions including SEEING IS BELIEVING BUT FEELING IS THE TRUTH, Rising, Golden Square, Melbourne, 2022; Let Them Eat Cake, Neon Parc, Melbourne, 2021; Pleasures Against Nature, RMIT Project Space and Spare Room, Melbourne, 2020; Let the World Burn, Textile Art Museum Australia, Ararat, 2019; It’s All Wrong but It’s Alright, Dark Mofo, Black Temple Gallery, Hobart, 2019; Paul Yore, NADA, Miami Beach, Florida, 2016; Boys Gone Wild, Studio 12, Gertrude Contemporary, Melbourne, 2012; The Big Rainbow Funhouse of Cosmic Brutality Part 2, Heide Museum of Modern Art, Melbourne, 2009.
To accompany the exhibition, a major monographic publication is forthcoming, published in partnership with Art Ink, which includes an extensive interview with the artist and essays and texts by leading Australian and international artists, scholars and commentators.
The Academy Museum of Motion Pictures debuts Regeneration: Black Cinema, 1898–1971 on August 21, 2022. The ambitious exhibition explores the achievements and challenges of Black filmmakers in the US from cinema’s infancy in the 1890s to the early 1970s.
24 August – 3 September 2022
Curatorial+ Co. is proud to unveil a vibrant and powerful new collection of works by artist Daniel O’Toole. Inspired by the colours of the natural world, the series is the artist’s response to the pressures of climate change and human survival on a warming planet, within the confines of the digital age.
Out of the shadows
Peterson channels the uneasiness he feels about the world into startling artworks that are charged with malignant energy. Fear and uncertainty become dystopian scenes painted in a primordial palette of black and white or a livid, fluorescent red.