Pilar Corrias

Helen Johnson

Helen Johnson

Helen Johnson
Curriculum Vitae

Born 1979 in Melbourne, Australia
Lives and works in Melbourne

SOLO EXHIBITIONS

2018
Warm Ties, Artspace, Sydney – AU

2017
Ends, New Museum, New York - US
Warm Ties, Chapter, Cardiff – UK
Warm Ties, Institute of Contemporary Arts, London – UK

2016
Keep your voice low and you can win any point, Art Basel Statements, Basel – CH
Barron Field, Glasgow International, Director’s Programme, curated by Sarah McCrory, Glasgow – UK

2015
Cafe Fatigue, Sutton Gallery, Melbourne – AU
The body is through, Laurel Gitlen, New York – US
Slow Learners, Château Shatto, Los Angeles – US

2014
Ex-execs, Minerva, Sydney – AU
Time Flies, Sutton Projects, Melbourne – AU
At Once (in collaboration with Adelle Mills), 55 Sydenham Rd, Sydney – AU
Just Paintings (in collaboration with George Egerton Warburton and Hamishi Farah), Westspace, Melbourne – AU
Problem History, MADA Gallery, Monash University, Melbourne – AU
I can spare what you asked for, flag for the Westgate Bridge, in association with Melbourne Now at the NGV (in collaboration with Brook Andrew, Jon Campbell and Kate Daw) – AU

2013
Time enough for love, Chapter House Lane, Melbourne – AU
Meantime, Sutton Gallery, Melbourne – AU
Air to Surface (with Parker Ito), Prism, curated by Liv Barrett, Los Angeles – US

2012
Dead Metaphor, ACME Project Space, London – UK

2011
System Preferences, Sutton Gallery, Melbourne – AU
Universal Remote, Y3K Gallery, Melbourne – AU

2010
An Effort of Memory, Centre for Contemporary Photography, Melbourne – AU

2009
On the Make, Utopian Slumps, Melbourne – AU
Love over Gold, Sutton Gallery, Melbourne – AU

2007
Do not go gentle into that goodnight, Sutton Gallery, Melbourne – AU
Some thoughts on interiority, Summer residency presentation, Künstlerhaus Dortmund, Germany – DE
Australia in the the Seventies, Joint Hassles, Melbourne – AU

2005
Customs and Mods, Galleri Schnauzer, Oslo – NO
Not to be confused with the Melbourne International Flower and Garden Show (in collaboration with Kylie Forbes), ClubsProject Inc., Melbourne – AU
The time has come to unlearn almost everything you know, Little Salon, Melbourne – AU

2004
Like theatre, like perfume they are dreaming of themselves, Studio 12, Gertrude Contemporary Art Spaces, Melbourne – AU
You must have been in strange places, Westspace, Melbourne Live at the Obelisk, Bus Gallery, Melbourne – AU
Live at the Obelisk, Bus Gallery, Melbourne – AU

GROUP EXHIBITIONS

2019
Trouble in Paradise: Collection Rattan Chadha, Kunsthal Rotterdam, Rotterdam — NL

2017
The National 2017, Art Gallery of NSW, Sydney — AU

2016
Painting. More Painting, Australian Centre for Contemporary Art (curated by Annika Kristensen, Hannah Mathews and Max Delany), Melbourne – AU
TarraWarra Biennial: Endless Circulation, TarraWarra Museum of Art (curated by Helen Hughes/Discipline magazine and Victoria Lynn), Tarrawarra, Victoria – AU

2015
I wish I never kissed that frog, Jeanine Hofland (curated by Sjoerd Kloosterhuis), Amsterdam – NL
Of deceit, Greenwood Street Project (organised by Tomislav Nickolic), Melbourne – AU
Pleasure and Reality, National Gallery of Victoria (curated by Jane Devery and Serena Bently), Melbourne – AU
Relational Changes, Christine König Galerie (curated by Valentin Ruhry and Andy Boot), Vienna – AT
In my absence, Galerie Jocelyn Wolff (curated by Dorothea Jendricke), Paris – FR
June: A Painting Show, Sadie Coles HQ, London – UK
The Material Turn, Margaret Lawrence Gallery (curated by Rebecca Coates), Melbourne – AU
Care, Interstate (curated by Dana Kopel and Marian Tubbs), New York – US
I refuse to participate in failure, SPREEZ (curated by Philipp Reitsam), Munich – DE

2014
Nine paintings presentation, The Alderman (curated by Renee Cosgrave and Merryn Lloyd), Melbourne – AU
Fin, Utopian Slumps, Melbourne – AU
Re-raising Consciousness,TCB (curated by Fayen Devie, Katherine Hattam and Harriet Morgan), Melbourne – AU
Sunny and Hilly, Minerva, Sydney – AU
Sublet, 50 Napier Street (curated by Matthew Linde and Brennan Olver), Fitzroy – AU

2013
Method and Gesture, Utopian Slumps, Melbourne – AU
Melbourne Now, National Gallery of Victoria, Melbourne – AU
Monochrome Exhibition, Sutton Projects (curated by David Homewood), Melbourne – AU
Mural Problem, Otras Obras (curated by Fiona Connor), Tijuana – AU
Decline, Top Shelf (curated by Harriet Kate Morgan), Melbourne – AU
Third/Fourth, Margaret Lawrence Gallery (curated by Christopher L G Hill), Melbourne – AU
Wavy Banners Project, ET4U (curated by Karen Havskov Jensen and Klavs Weiss), Vemb – DK
Collage: The Heide Collection, Heide Museum of Modern Art, Melbourne – AU

2012
Negotiating this world, National Gallery of Victoria, Melbourne – AU
Art & Australia Collection 2003-2013, Regional touring exhibition, various venues, New South Wales – AU
Ode to Form, Westspace (curated by Kelly Fliedner), Melbourne – AU
Chinatown: the sequel, LTD (curated by Liv Barrett), Los Angeles– US
Temperament Spectrum, Sutton Gallery (curated by Liza Statton), Melbourne– AU
Of Virgins, Greenwood Street Projects, Melbourne – AU

2011
Art2: Horsham, Australian Centre for Contemporary Art (curated by Hannah Mathews), Melbourne – AU
Subtext, UnProjects at Westspace, Melbourne – AU
You’re Welcome, Fundraiser for the Asylum Seekers Resource Centre, Mars Gallery, Melbourne – AU

2010
Stick It! Collage in Australian Art, National Gallery of Victoria (curated by Alisa Bunbury), Melbourne – AU
Addition/Erasure, VCA Margaret Lawrence Gallery, Melbourne – AU

2009
Octopus 9: I forget to forget, Gertrude Contemporary Art Spaces (curated by Stephen Gilchrist), Melbourne; Canberra Contemporary Art Space, Canberra – AU
Cross Colouring, Hell Gallery (curated by Harriet Morgan & Sean Bailey), Melbourne – AU; Gambia Castle, Auckland – NZ
Order/Disorder, C3 Contemporary Art Space, Melbourne – AU

2008
Y2K Artist Run Artist Funded Melbourne Biennale, TCB (curated by Christopher L G Hill), Melbourne – AU
Robert and Bobby Creely perform ‘Listen’ (1972 Radio Play), Joint Hassles (curated by Harriet Morgan), Melbourne – AU
The Library Project, coordinated by Pat Foster and Jen Berean for Frankston City Library, Melbourne – AU
The Nightclub Project: Everybody’s Free, Billboard for Next Wave Festival, Melbourne – AU
Skin and Bones, Bus Gallery (curated by Patrick O’Brien), Melbourne – AU
The Monobrow Show, Hell Gallery, Melbourne – AU

2007
The Independence Project, Galerie Petronas (curated by Alexie Glass), Kuala Lumpur – MY
A Bridge too Far, Alliance Francaise (curated by Jacqui Doughty), Melbourne – AU
eg., Plimsoll Gallery (curated by Bryony Nainby), Hobart – AU

2006
Octopus 6: We know who we are, Gertrude Contemporary Art Spaces (curated by Zara Stanhope), Melbourne; Gippsland Art Gallery, Sale – AU
New06, Australian Centre for Contemporary Art (curated by Juliana Engberg), Melbourne – AU
Escape Artist-Run Artist Party, High Street Project (curated by Christopher Hill), Christchurch – NZ
Great Dividing Range, Canberra Contemporary Art Space (curated by Lisa Byrne), Canberra – AU
Group Show, Joint Hassles (curated by Sean Bailey and Harriet Morgan), Melbourne – AU

EDUCATION

2014
PHD (Fine Art), Monash University, Melbourne

2002
BFA Painting (Hons), Royal Melbourne Institute of Technology, Melbourne

AWARDS, GRANTS AND RESIDENCIES

2016
Creative Victoria VicArts Grant

2015
Mollie Holman Award for Doctoral Thesis Excellence, Monash University, Melbourne

2014
Artist in Residence, Princes Hill Primary School, Melbourne
Australian War Memorial ANZAC Centenary Print Portfolio Commission
New Work Grant, Australia Council for the Arts
Australian Artists’ Grant, National Association for the Visual Arts (with Adelle Mills)

2012
New Work Grant, Australia Council for the Arts
London Studio Residency, Australia Council for the Arts

2011
Artspace residency, Sydney

2009
New Work Grant, Australia Council for the Arts

2008
Australian Postgraduate Award

2007
Residency, Lademoen Kunstnerverksteder, Trondheim, Norway
Summer Residency, Künstlerhaus Dortmund, Dortmund, Germany
New Work Grant, Australia Council for the Arts
Arts Development (Creation) Grant, Arts Victoria
Ripe Award for Emerging Artists, Art and Australia/NAVA

2006
Arts Development (Presentation) Grant, Arts Victoria

2005
Residency, Nordisk Kunstnarsenter Dalsåsen, Dale, Norway
Travel Grant, Ian Potter Cultural Trust

2004
Studio residency, Gertrude Contemporary Art Spaces, Melbourne

CURATORIAL PROJECTS

2015
Language Face, Minerva, offsite, Melbourne – AU

2014
WORK, Slopes, Melbourne – AU

2011
Love in the Mourning, Death be Kind, Melbourne – AU

2009
New World Records, Sutton Gallery, Melbourne 2008

2008
Ugly Heritage, Joint Hassles, Melbourne ­– AU
Informal Rituals, TBC, Melbourne (with Alex Vivian) – AU

2005
Slide exhibition program 2005, Gertrude Contemporary Art Spaces, Melbourne– AU

PUBLISHED WRITING

2016
Contribution to Artists Writing, 2000–2015, Jennifer Liese (ed.), New York: Paper Monument (forthcoming)
Critical Ambiguity: A Kantian Reading of Recent Work by Juan Davila,’ Discipline, Issue #4, March
‘Portfolio: Helen Johnson,’ Frieze Online, August 2016 https://frieze.com/article/portfolio-helen-johnson

2015
‘Helen Grace’ – contribution to Frieze Masters: Artists’ Artists, Jennifer Higgie (ed.)
Painting is a critical form (book), published by 3Ply, Melbourne
I paint the ground that is beneath my feet – catalogue essay for Ann Debono at Caves, Melbourne
Porosity, machine, subtraction, substitution: on the formal address to politics in works by Brighid Fitzgerald, Rosie Isaac, Nicholas Mangan and Tom Nicholson – with Justin Clemens, Un Magazine, Pip Wallis (ed.), Autumn
Introductory essay for NEW15 catalogue (curated by Matt Hinkley), ACCA, Melbourne
Cover image for Little Star weekly, January 23

2014
Kippenberger aus Australien – Catalogue text for Martin Kippenberger (curated by Geoff Newton), Neon Parc, Melbourne
Contribution to ‘8 Painters on Painting’ (Jennifer Higgie), Frieze Issue #160, January, February
The Now is Not Present, Catalogue essay for Damiano Bertoli, Continuous Moment: Sordid’s Hotel at the Centre for Contemporary Photography, Melbourne

2013
Memory is not a recording device: On Eliza Hutchison’s ‘Hair in the Gate, a biograph’, Un Magazine, Jarrod Rawlins (ed.), Spring
Is the research your practice, or is the practice your research?, Un Magazine, Jarrod Rawlins (ed.), Autumn
‘Exinterior: On Stanislaw Lem’, Science Fiction/World Making, Amelia Barikin and Helen Hughes (eds.), Surpllus, Melbourne
‘Lend me your ear: On Hany Armanious’s “Fountain”’, Discipline, issue 3
Fiona Connor: Bare Use, catalogue contribution for Fiona Connor at Hopkinson Cundy, Frieze Art Fair, New York

2012
‘It seems like everybody knows everybody already so let’s get to work’, Un Magazine, Summer
‘On contemporary art and criticality’, paper presented at the Australasian Society of Continental Philosophy Annual Conference, Auckland, New Zealand
‘Scott Mitchell: A silent modification of the specific present’, Un Magazine, Autumn
‘Mira Gojak: A moment an immeasurable whole’, Discipline, issue 2, Autumn

2011
‘Review: Christoph Menke, Daniel Loick, Isabelle Graw, ‘“The Power of Judgment: A Debate on Aesthetic Critique”’, Discipline, issue 1, Winter
Artist’s pages, Discipline, issue 1, Winter
‘Groundwork’, Subtext: Artists and Writing, UnProjects for Westspace, Melbourne
‘Treason and Crime’, Reason and Rhyme, catalogue essay, Gertrude Contemporary, Melbourne, and St Paul St, Auckland
Act Natural, catalogue essay for Annika Koops’s exhibition of the same name, Nellie Castan Gallery, Melbourne
The Gift and the Curse, catalogue essay for Drew Pettifer’s exhibition of the same name, various venues, Melbourne

2009
New World Records, catalogue essay, Sutton Gallery, Melbourne
Nathan, catalogue contribution for Attack Decay Sustain Release by Nathan Gray, Craft Victoria, Melbourne

2008
Gone Bush, catalogue contribution for A Time Like This, Margaret Lawrence Gallery, Victorian College of the Arts, Melbourne
Kate Smith, artist page for Un Magazine, Issue 2.2
The Superpit, catalogue essay for Brodie Ellis’ exhibition of the same name, Conical, Melbourne
Happy Days, review, Jason Heller and Lucreccia Quintanilla for The South Project
Strange 4 (cover image), postgraduate journal of creative writing, The University of Melbourne

2007
‘Seeing things in black and white: Deutsher and Hill’, Whitehot Contemporary Art Magazine, issue 7, October
‘Door Slamming Festival at Mehringdamm 72’, Whitehot Contemporary Art Magazine, issue 4, May
Black River (illustrations), published by Re:Press, Melbourne
Omnipraxis, catalogue essay for Omnipresents by Christopher L G Hill, Gertrude Contemporary Art Spaces, Melbourne

BIBLIOGRAPHY

2016
Ari Akkermans, Barron Field (cat.), Glasgow International, April
Marina Cashdan and Molly Gottschalk, The 20 Best Booths at Art Basel, Artsy, June 15 (https://www.artsy.net/article/artsy-editorial-the-20-best-booths-at-art-basel)
Hettie Judah, Female Artists Take Centre Stage at Glasgow International 2016, Artnet News, April 8 (https://news.artnet.com/art-world/female-artists-shine-glasgow-international-469415)
Sophie Knezic, 5th Tarra Warra Biennial, Frieze Issue #182, October
Pippa Milne, Helen Johnson, Vault, Issue 13, February
Harry Thorne, Critic’s Guide: Glasgow, Frieze online, 13 April (https://www.frieze.com/article/critics-guide-glasgow )
Vitamin P3: New Perspectives in Painting, Phaidon, London

2015
Andrew Berardini, Critics’ Picks: Helen Johnson, Château Shatto, Artforum online, January 2015 (http://artforum.com/picks/id=49943)
Aryana Hessami, Helen Johnson, Foundations, Issue #3
Sophie Knezic, Helen Johnson (review: Cafe Fatigue), Frieze Issue #175, November – December
David Matorin, Reviews in Brief: Helen Johnson, Château Shatto, Modern Painters Vol. 27, Issue 5, May
Dylan Rainforth, Review: Helen Johnson, Artguide, November (http://artguide.com.au/articles-page/show/helen-johnson-2/)
Roberta Smith, Review: Kate Newby and Helen Johnson at Laurel Gitlen, The New York Times, July 16
Jackie Wullschlager, Critics’ Choice, June: A Painting Show, FT Weekend, 06– 07 June, p. 17

2014
Rex Butler, Modernism: More Popular Than Populism, Broadsheet 43.4, Spring
Melissa Loughnan, Paintings about Painting (interview), The Blackmail, offline issue #3, Spring
Adelle Mills, Foggy shields are breathing poem to accompany Ex-execs at Minerva, May
Dan Rule, Review: Just Paintings, The Age, Your weekend: In the galleries, May 3

2013
Ray Edgar, Unfurling Flags, The Age, November 29
Andrew Frost, What can nostalgia bring to contemporary art? The Guardian online, July 31 (http://www.theguardian.com/artanddesign/australia-culture- blog/2013/jul/31/nostalgia-contemporary- art-culture)
Adrian Martin, Volumetric: Helen Johnson (cat. entry for Ode to Form), Westspace
Lisa Radford, ‘de for,’ review: Decline at Top Shelf Gallery, Stamm http://www.stamm.com.au/de-for/ September/October issue
Dylan Rainforth, Let Love Emerge, The Age, Space: Around the Galleries, November 6
Rule, Dan, Helen Johnson: Time Enough For Love, The Age, ‘In the Galleries, November 23
Dan Rule, Monochrome Exhibition, The Age, In the Galleries, September 7
Dan Rule, REVIEW: Helen Johnson – Meantime, Raven, July 18 (https://www.ravencontemporary.com.au/helen-johnson-meantime/)
Dan Rule, Helen Johnson: Meantime, The Age, In the Galleries, July 6
Roger Nelson, Hovering uneasily close to sea level, Das Superpaper #27, pp. 66-69, June
Julia Waite, Meantime (cat.), June
Kit Wise, Review: Helen Johnson, Frieze Issue #159, November – December

2012
Gellatly, Kelly (ed.), 101 Contemporary Australian Artists, National Gallery of Victoria
McSpedden, Shelley, Game Changer: Helen Johnson – New Painterly Strategies, Eyeline, pp. 48-41, Issue #76
Razer, Helen, Deflowering the authorised history of the Virgin, The Age, June 13 (http://www.theage.com.au/entertainment/art-and-design/deflowering-the- authorised-history-of-the-virgin-20120612-207y5.html)
Irene Sutton et al., Sutton Gallery: The first twenty-one years 1992-2012, Sutton Gallery, Melbourne
Time and Vision: Australia Council for the Arts London Residencies 1992-2002, Acme Studios, London
Eleonora Triguboff, Art & Australia Collection/Awards/Projects, Art & Australia

2011
Dan Rule, Helen Johnson: System Preferences, The Age, June 25, Life & Style p. 5

2009
Justin Clemens, Love over Gold (cat.), Sutton Gallery, June
Anthony Gardner, About Between Towards Despite Because: On Helen Johnson’s Makings (cat.), Utopian Slumps, November
Stephen Gilchrist, I Forget to Forget (cat.), Gertrude Contemporary Art Spaces
Leon Goh interviewing Stephen Glichrist, Forgetting is not an option, Runway, Issue 15, Summer
Robert Nelson, Moulding with the Imagination, The Age, p. 19, August 19
Dylan Rainforth, Visual Art (What’s on), The Age, p. 19, June 10

2008
Prue Gibson, Five female artists to watch in 2008, Vogue Australia, January

2007
Cecilia Alemani, Present/Future (cat.), Artissima 07, Turin, Italy, November
Meaghan Backhouse, In galleries, it’s show time, The Age A2, January 20
Justin Clemens, A Law That Cannot Be Enforced, The Monthly, March
Justin Clemens & Max Delaney, Of tents and tenets: some relations between art and politics, Art & Australia, Autumn
Das Individuum und die kapitalistische Gesellschaft (The individual and the capitalist society), Westdeutsche Allgemeine Zeitung, Germany, 27 July
Charlotte Day, A Plan for Living (cat.), for Artissima 07, November
Michael Fitzgerald, Helen Johnson, Art & Australia, Summer
Nicholas Heron, Do not go gentle into that goodnight (cat.), Sutton Gallery
Daniel Palmer, Emerging Artists, Frieze, p. 137, Issue 104 January/February
Zwischen Träumen und subtiler Kritik (Between dreams and subtle critique), Ruhr Nachrichten, West Germany, 27 July

2006
Meaghan Backhouse, Windows into Johnson’s world, The Age, March 21
Luke Benedictus, A Shot of the New, Preview (The Sunday Age), March 26
Juliana Engberg, New06 (cat.), The Australian Centre for Contemporary Art, March
Charles Green, Critics’ Picks: Melbourne: New06, ArtForum Online, March
Anna Macdonald, Everyday Translations (cat.), New06, The Australian Centre for Contemporary Art, March