Narelle Jubelin: Specific Objects, Common Parts.

9 May 2013 - 15 June 2013

Press Release

Catalogue

Artist Info

DEAD SLOW “SPECIFIC OBJECTS, COMMON PARTS”

CENTRE FOR CONTEMPORARY ART GLASGOW 1992 MARLBOROUGH CONTEMPORARY LONDON 2013

The intimacy of this project belies the enormity of the journey that the work and its viewer makes. It is at once highly localized and sited, and yet it seems to co-exist apart from itself. A single wall is harled (roughcast with small gravel), according to local tradition, and a series of small objects are placed in line, to form a kind of multiple-narrative structure. They sit uneasily, without stability, on the wall. It becomes clear that nothing stays in place.

The objects are part found and part handmade, but all share the close trace of the working hand. Jubelin´s petit point renditions are particularly surprising within a contemporary context as they have to do so specifically with the touch of the hand. Weaving cloth against cloth is far less mediated than most representational means. Evidently, too, needlework is historically “women´s work” (confirmed by the translation of one of the several editions of the Encyclopedia of Needlework that Jubelin presents in the installation – Encyclopédie des oeuvres de dames. If needlework is a manifestation of one form of sexual marginalization, Jubelin´s display is a devistating, physical, and exquisite accumulation of evidence regarding colonial marginalization the subtle embedding of the foreign into the local. The work does not seek to uncover hidden agendas, but rather observes cultural blind spots. As an Australian, who has now lived half her working life in Spain, Jubelin bears witness to the motion accross continents, as one culture is transposed, infolded, into another. The title of the exhibition, “Dead Slow,” “Specific Objects, Common Parts” suggests that this culture, and cultural attribution, is not static, but moves at a pace that is unobservable and, therefore, subversive.

Jubelin’s primary activity is one of redemption. Her research and methodology as to provenance and context are meticulous and fully annotated as an essential part of the presentation. The objects she renders or finds thus become, or are allowed to become, the sum of their own travel and existence in time. If Jubelin’s project attempts to find a way back to a mythical centre, or “home”, as we might wish to call it, it is also certain that there can never be a fixed position from which to read the juxtaposition she has tentatively suggested. This appears to be no less than an ethics of displacement.

Andrew Renton 1992 2013

Narelle Jubelin was born in Sydney in 1960, and currently lives and works in Madrid. Selected exhibitions include Venice Biennale, 1990; Biennale of Sydney, 1992; Renaissance Society, Chicago 1994; Art Gallery of Ontario & York University Gallery, Toronto 1997; Artists House, Jerusalem, 2002; Art Gallery of New South Wales and Heide Museum of Modern Art, Melbourne, 2009. Recent exhibitions include Casa Encendida, 2012, Madrid and Gulbenkian, Lisbon, 2013. UK group exhibitions include Doubletake Hayward Gallery, London 1992; Total Object Complete with Missing Parts, Tramway, Glasgow, 2001 and Front of House, Parasol Unit, London, 2008. Specific Objects, Common Parts is Narelle’s first solo exhibition in the UK since Dead Slow, Centre for Contemporary Art Glasgow, 1992.

 

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Press Release

Catalogue

Artist Info

 

DEAD SLOW “SPECIFIC OBJECTS, COMMON PARTS”

CENTRE FOR CONTEMPORARY ART GLASGOW 1992 MARLBOROUGH CONTEMPORARY LONDON 2013

The intimacy of this project belies the enormity of the journey that the work and its viewer makes. It is at once highly localized and sited, and yet it seems to co-exist apart from itself. A single wall is harled (roughcast with small gravel), according to local tradition, and a series of small objects are placed in line, to form a kind of multiple-narrative structure. They sit uneasily, without stability, on the wall. It becomes clear that nothing stays in place.

The objects are part found and part handmade, but all share the close trace of the working hand. Jubelin´s petit point renditions are particularly surprising within a contemporary context as they have to do so specifically with the touch of the hand. Weaving cloth against cloth is far less mediated than most representational means. Evidently, too, needlework is historically “women´s work” (confirmed by the translation of one of the several editions of the Encyclopedia of Needlework that Jubelin presents in the installation – Encyclopédie des oeuvres de dames. If needlework is a manifestation of one form of sexual marginalization, Jubelin´s display is a devistating, physical, and exquisite accumulation of evidence regarding colonial marginalization the subtle embedding of the foreign into the local. The work does not seek to uncover hidden agendas, but rather observes cultural blind spots. As an Australian, who has now lived half her working life in Spain, Jubelin bears witness to the motion accross continents, as one culture is transposed, infolded, into another. The title of the exhibition, “Dead Slow,” “Specific Objects, Common Parts” suggests that this culture, and cultural attribution, is not static, but moves at a pace that is unobservable and, therefore, subversive.

Jubelin’s primary activity is one of redemption. Her research and methodology as to provenance and context are meticulous and fully annotated as an essential part of the presentation. The objects she renders or finds thus become, or are allowed to become, the sum of their own travel and existence in time. If Jubelin’s project attempts to find a way back to a mythical centre, or “home”, as we might wish to call it, it is also certain that there can never be a fixed position from which to read the juxtaposition she has tentatively suggested. This appears to be no less than an ethics of displacement.

Andrew Renton 1992 2013

Narelle Jubelin was born in Sydney in 1960, and currently lives and works in Madrid. Selected exhibitions include Venice Biennale, 1990; Biennale of Sydney, 1992; Renaissance Society, Chicago 1994; Art Gallery of Ontario & York University Gallery, Toronto 1997; Artists House, Jerusalem, 2002; Art Gallery of New South Wales and Heide Museum of Modern Art, Melbourne, 2009. Recent exhibitions include Casa Encendida, 2012, Madrid and Gulbenkian, Lisbon, 2013. UK group exhibitions include Doubletake Hayward Gallery, London 1992; Total Object Complete with Missing Parts, Tramway, Glasgow, 2001 and Front of House, Parasol Unit, London, 2008. Specific Objects, Common Parts is Narelle’s first solo exhibition in the UK since Dead Slow, Centre for Contemporary Art Glasgow, 1992.

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