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TCB
1-5 Wilkinson St
Brunswick 3056
Victoria, Australia

Thursday-Sunday 12-6pm


TCB acknowledges the people of the Kulin Nations as the traditional custodians of the land, recognising their connection to land, waters and community. We pay our respects to their Elders; past, present and future.


©2023 TCB Art Inc.



TCB


CHRISTOPHER L G HILL (*AND GUESTS)
Do sumn’
21 Jan 2015—07 Feb 2015


*Guests:
Trevelyan Clay, Renee Cosgrave, Brighid Fitzgerald, Lucina Lane, Gervaise Netherwa, Liam Osborne, Nell Pearson, Joshua Petherick, Popcaan (unsolicited), Lisa Radford, Nick Ryri, Nick Selenitsch, Kate Smith , Zac St. Clair, Alex Vivian, George Egerton Warburto & ZK Crew (unsolicited)

paraphrased from my email correspondence with Zac st Clair On Sun, Nov 2, 2014 at 12:11 PM

“I think what interests me is the limits of freedom in vandalism, obviously it opens up private property to be displaced and become the play thing of the vandal. But also it is a violation of space, visual attack. This is also true of the rehousing of artwork through sale to private and public collections, the dead artists work hangs on the purple feature wall, etc. Or true of the ‘ethics’ of graffiti which are always swaying with legal challenges and gentrification as the changing face of oppression. Houses, cars, vans, what is okay to tag on?… I don’t want people to tag/deface my work, but it often happens (well not tagging, but people stepping on the work, kicking it, etc, with little disdain). All open thoughts, that I don’t have exact answers too, but would be interested to discus, and open up the discussion to others..”

Christopher L G Hill artist bio:
Words or things in order, controlled by one individual seems fruitless, free with one not so much. What is a poetry not under a democratic Id, or a totalitarian one for that matter. I hope it is Anarchism. I hope my words and thoughts are free, this extends and contracts in it’s confines. Such as as object, words, installation, painting, tink thank (3ply, poly:be press), Living Things (Lismore Regional Gallery, NSW), Y3K (RIP), Endless Lonely Planet (I, II, III), Bunyip Trax (tape label), Moffarfarrah and MUGG (abstract language manipulation), Porpoise Torture (Harsh wave/wall Noise), VDO, Urchyn, Do Sumin (TCB, 2015), vases, books, Carpet Burn (Papakura Art Gallery 2014), cooking, collecting, No Soul for Sale (Tate modern, 2010), twitter (@clghill), dust, paper, problem poem, and Event Horizon (very preliminary stages) (Conical, 2011), Dissolve (Flake, 2014), loving, flower arrangement, Melbourne Biennials facilitator (‘Artist initiated’ 2008, 2011, 2013), oval, purple, you can’t steal a gift (Gambia Castle, 2008), Melbourne Now (NGV 2013-14), instagraming (christopherlghill), meaning to make small comics and graff zines, Free Feudal Barter Store (Gertrude Contemporary, 2013), hobnobbing, hating, clothes, Fury Road (2012 Portland Oregon), three’s company (Gambia Castle 2010), sub divide and concrete (Joint Hassles 2008), friendships, passionate relationships, blogs (Jahjahsphix, counterfietness first, fubutube, new tab and window shopper, bobasprite, etc), Never work, all art is problematic (self governed thesis, 2008-2014), dishes, grooming, animals, youtube, drawing, etc…

Guest artists bio:
They are all interesting and engaged people, who are good friends and colleagues.








This exhibition has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.