1 Feb 2020–30 Apr 2021
In the wake of the severe bushfires still raging, Magnesite Norway is an inversion. It’s lush, green scream a balm for all the burnt red and black we’ve been bombarded by. We witness Kusum Normoyle grounding herself through feedback and amplification. Throwing her body and her voice into a site with fierce potency. A giving of ecstatic energy without expectation of return. With Mette Rasmussen improvising on alto sax, they are drowned out in part by the authority of the landscape; an acknowledgment of the grandeur and tenacity of water, rock and air.
In the wake of the severe bushfires still raging, Magnesite Norway is an inversion. It’s lush, green scream a balm for all the burnt red and black we’ve been bombarded by.
Kusum Normoyle is a musician and artist working with voice for performance, video and installation. She takes screaming, feedback, resonance and intervention and puts them to work in gallery, experimental and dance music contexts. Her work investigates aesthetic and literal expressions of the voice and body, through sound materials, noise making and their relationship to location and environment.
Her work has been included in numerous national and international galleries and events including TarraWarra Biennial 2018: From Will to Form, MAAS/The Wellcome Collection, The Substation, Bergen Kunsthall, Dark MOFO, Red Bull Music Academy, Artspace Sydney, Primavera: Young Australian Artists, MCA Sydney, Redlands Konica Minolta Art Prize, ISSUE Project Room NYC, SuperDeluxe at Artspace for the 17th Biennale of Sydney, Liquid Architecture, N.K Berlin, UrBANGUILD JPN, Biennial of Graphic Art, Slovenia, Dunedin Public Art Gallery, City Gallery Wellington.
She has on-going collaborative music projects with Ivan Lisyak as techno HVISKE and Peter Blamey in Hard Hat.
Bridie Lunney combines practices of large-scale architectural interventions, sculpture and durational performance. Bridie acknowledges the body as a conduit between our psychological selves and the physical world. Recent projects include Temporal Proximities, Magdalene Laundries at Abbotsford Convent, 2019; From Will to Form, TarraWarra Biennial, New Histories at Bendigo Art Gallery, 2018; Fold for Melbourne Prize for Urban Sculpture, Federation Square, 2017; An Imprecise Science Artspace, Sydney, 2015; This Endless Becoming for Melbourne Now, National Gallery of Victoria, 2014. She is a Lecturer in Sculpture at the National Art School, Sydney.