8th December – 27th January, 2019
Welcome aboard ARGO PACIFICO…
Welcome aboard ARGO PACIFICO… ARGO PACIFICO is not an exhibition. It is a real life cruise ship that has been temporally and spatially phased into the walls of The Lock-Up. We are just shadows, granted a fleeting look at a hyper-slowed moment aboard ARGO PACIFICO as it enters an electric fog on the threshold of the Bermuda Triangle.
Its rooms and halls seemingly empty, hold the stories of the passengers before being caught between mysterious points, flung through the endless passing of one moment. The captain is missing, and strange sightings in the night air have been whispered about, but that is easy to ignore when the ship boasts such luxury and first class entertainment.
Enjoy your stay aboard Dear Shadow, flicker and linger in the halls, dance into the corners and cling to the beams…
ABOUT JEN DENZIN
Jen Denzin has exhibited regularly in Newcastle for the past 10 years. She uses commonplace materials such as plastic buckets, drinking straws, cable ties and tacky mementos to construct gaudy assemblages and vibrant environments. Her work is informed by historical meeting points and the interplay between people-groups and cultures specifically in the Asia-Pacific region.
Denzin’s industry experience includes curatorial projects at Newcastle University, TAFE’s Frontroom Gallery and the M-Arts Precinct in Murwillumbah, along with two years as co-director at Newcastle’s PODspace Gallery (2010-12).
ABOUT OLIVER HARLAN
Oliver Harlan, is a multidisciplinary artist and filmmaker whose work is concerned primarily with expressing the small, subtle and intricate moments of human connections. Harlan’s practice has become increasingly performative, his main output consisting of a daily practice using social media, where he uploads a video every day that adds to an ever-evolving, childlike character, who dances in parking lots, plays the recorder badly and talks to his stuffed cat.
Harlan attended Sarah Lawrence College in New York where he studied film production and modern art history. Having worked in the professional film industry for many years Harlan’s creative practices also employs many large budget looking filmic techniques and editing practices into the very humble and mundane space of cardboard sets, iPhone footage and backyard special effects.