A fly-on-the-wall perspective of an anti-Trump protest and an exposition of 21st century disposable society are among works featured in Ohwell? – a group exhibition in an abandoned police station bringing together five young artists whose work offers a powerful critique of the world around them.
The exhibition marks the debut of DAMFCY – a new curatorial duo founded by recent graduates Daniel Matthews and Fiona Young. As 2018 begins, the show looks back upon the problems of the world and society through young eyes, and offers hope that the rising generation will bring a fresh awareness and determination to find just responses.
Part of a growing DIY curatorial scene, this exhibition will engage audiences through work that, despite its variety of subject matter and media, shares an objective of drawing attention to socio-political issues and demonstrates how visual art can be used as an emotive politicising tool.
These artists have been brought together by DAMFCY to present audiences with their personal and impassioned responses to current issues that affect everyone:
Maximillian Hartley presents two short films: Genii Loci 001 examines the shapes and textures of a whale carcass to explore species endangerment and the impact of climate change and pollution; while Genii Loci 002 follows an anti-Trump march to explore protest from individual and collective perspectives.
Nathan Caldecott uses installation to explore contemporary disposable culture, and changing notions of value and function. Other work presents distorted digital GIF images as pieces of minimalist sculpture in their own right.
Nafsika Petrogka presents digital print images that create dark, nostalgic, memory-infused atmospheres that capture personal or collective memories and story-telling.
Viviana Troya uses security cameras in Who’s Not Waiting For Death, capturing glimpses of various waiting rooms including a Bogota geriatric centre to explore the notion of waiting and the treatment of elderly people.
Rayvenn D’Clark creates hyper-real sculpture to explore the materiality of the ‘copy’, and fuel a discussion of the irregular position of black artists in a predominantly white art world.