Home' Scoop Homes and Art : Scoop Homes and Art 35 Contents 210 HOMES & ART SUMMER 2012
“The works I’m bringing to Perth [for
The Nightmare Paintings at Buratti Fine Art
until February] were in a very successf ul
exhibition at the Palais de Tokyo in Paris,
and are a kind of visual diary to Crowley’s
spiritual initiation. The show will tour to
Sydney in 2013.
“Since I’ve been involved with it,
the people crossing my path have been
incredible – from Jimmy Page to musicians
from the Velvet Underground, and the
artistic director of the Venice Biennale.
I think people are attracted to the mystery
that surrounds this work.”
Robert Buratti, director, Buratti Fine Art;
president, Friends of the Art Gallery of WA.
“Artists are a real litmus for the broader
social, cultural and economic changes
that are happening in the world. The
cultural dialogue between Australia
and Asia has been occurring for at
least the last 20 years, and there seems
to be a renewed interest in Australia
that’s been piqued by Asia’s burgeoning
“The challenge now is not just
recognising the importance of Asia to
Australia economically, but harnessing
the cultural experience. Australians
have to be constantly working in the
region, developing projects that have
international critical relevance, if it
wants to have a greater impact there.
Fut ure projects can’t just represent
Australian interests, but need to see these
in a broader global context.
“What’s worth noticing is the work
done in spaces like ParaSite in Hong
Kong, and Long March in Beijing – this is
where discussions happen before they enter
“As a contemporary art space, 4A
presents work from in and out of the Asia
region. Presenting the Sydney Pavilion The
Floating Eye [at the Shanghai Biennale] is
a really significant opportunity. We put
forward a curatorial statement about how
we see Australian cities and how we live
in them, the importance of our migration
histories and the importance of the
environment. The exhibition includes six
important mid-career artists who are able to
respond to this broader global framework.”
Aaron Seeto, director, 4A Centre for
Contemporary Asian Art, Sydney.
“We were overwhelmed by the response
to Asher Bilu’s work in our August sale
people were ringing us from all over
Australia. Perhaps We Should Believe in
Magic (1988) had an estimate of around
$10-15,000 and sold for $37,200 – an
auction record for the artist.
“At first you think it’s two-dimensional,
but act ually it’s sculpture; constructed
from five or six layers of resin shapes.
People were shocked to find out the artist
was born in 1936, it looks so contemporary.
“Another work was installed for the
reopening of the Museum of Contemporary
Art, Sydney. Curators there said people
often stop and stare at it. It’s remarkable the
artist is still pushing boundaries today.”
Geoffrey Smith, director, Sotheby’s Australia.
FAR LEFT The Sun (study for Tarot) (1920), by Aleister Crowley,
oil on board. Image copyright Ordo Templi Orientis.
LEFT Tim e (2012), by Brook Andrew, mixed media. Courtesy
the artist and Tolarno Galleries, Melbourne.
BELOW Perhaps We Should Believe in M agic (1988), by Ash er Bilu .
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