Grey Gardens Gallery respectfully acknowledges the traditional custodians of the land on which we operate, the Boon Wurrung and Woiwurrung (Wurundjeri) peoples of the Kulin Nation. We pay respect to their Elders, past, present and becoming, acknowledging that sovereignty has never been ceded in so-called ‘Australia’.






Grey Gardens Gallery is a radical, fundamentally queer, community-based project space that is interested in fostering experimental and speculative modes of exhibition and performance. Our project space is a platform that works to actively dismantle the barriers of industry that cultural institutions maintain, embrace diverse perspectives and primarily support emerging voices.

Queer art, social and performance spaces have long been integral to the exploration and development of queer identities. During this period of physical distancing, these spaces have faced temporary closure, forcing us to find alternative places in which to celebrate, perform and determine our identities. Artists working across performance and other modes of live engagement have had to drastically reconsider creative output.

How might we now engage with our audience? How might we now share our stories with our community? How might we take care of each other?


The concept of our project space is the 1975 documentary Grey Gardens. This film explores the daily lives of two aging, peculiar, formerly upper-class women. Little Edie and her mother Big Edie are the sole inhabitants of a Long Island estate called Grey Gardens. After Big Edie's husband left them, the two remained in the mansion for decades, living in increasing squalor and isolation. Throughout the film, the two women reveal themselves to be misfits with outsized, engaging personalities, as they sing and dance for each other and for the cameras.

The queer cult following of the film is largely due to the endearing performances of these two eccentrics in the face of devastation, bleakness and dire circumstance.  The artists included in this exhibition were invited to use this film as a springboard for their own thoughts, feelings, experiences and reflections on this period of isolation during the COVID-19 pandemic.

Through various modes of performance, this exhibition explores and celebrates the notion of a queer collective psyche.  It is through these creative expressions that our communities endure and heal from trauma, actualise self-determination, learn, and build a liberated, queer future together.




STAY TUNED...



Each artist has been given a web page to utilise as an ‘Active Space’ from June 18th - July 31st. Throughout this  period, each artist has the option to change and expand their content. Whilst some artists have organised their works in an episodic format with iterations at regular intervals, some others will present works intermittently. To keep notified of these updates follow our Instagram page @grey_gardens_gallery or check back in reguarly.

UPDATE: Due to extended lockdowns artists will be updating works throughout August.





Indiah Money is a queer Wiradjuri non binary artist who was raised, works and lives in unceded Kulin Nations territory. Indiah’s multi-disciplinary practice includes the visual, written, spatial and performative. Their practice reflects themes of colonialism, assimilation, skin colour, gender, mental illness, sexuality, climate change, stolen generations and identity - whilst maintaining a strong critique of the Eurocentric western idealised structure that each person in Australia is forced to maintain.



 



Bon Mott is a non-binary, artist and curator who identifies as lightning and creates trans/disciplinary process-driven sculpture, photography and performance art installations. Bon learns from Indigenous philosophies, astrophysics, alchemy, and neuroscience through the framework of lightning and entangles binaries of male and female, and human, non-human and post-human.






Documentation: Sabrina Bellenzier. Lido di Venezia. Italia.





Diego Ramirez is an artist, writer and arts worker. His practice employs a variety of mediums to unpack representations of otherness. His video work was subject to a joint solo screening by ACCA x ACMI titled Diego Ramirez: Towards the Umbral in 2018. In 2019, he presented The Horrible Affair at West Space as part of WRITING&CONCEPTS, a lecture on the relationship between his art and writing. He held a solo show in Mexico titled IMPERI❍: el borde de las tinieblas at Deslave, Tijiuana in 2018. His work has been shown at MARS Gallery, Torrance Art Museum, Hong-Gah Museum, Careof Milan, Buxton Contemporary, WRO Media Art Biennale, Human Resources LA, Art Central HK, Sydney Contemporary and multiple artist run spaces. His writing has been published in Art and Australia, NECSUS, un Projects, and more. He is represented by MARS Gallery, is Editor-at-large at Running Dog and Gallery Manager at SEVENTH Gallery.