Here I am, writing you a letter
Joey Ramone, Rotterdam
25 March – 6 May 2017
JOEY RAMONE is proud to present A Distracting Movement is Never in a Straight Line, the 1st solo exhibition in the gallery by Australian artist Quenton Miller. The exhibition opens on Saturday 25 March at 5 – 8pm and runs till Saturday 6 May 2017.
Drawing is an everyday way of thinking in Miller’s practice, functioning both as independent works and storyboards for other mediums. This exhibition combines drawings rendered in steel and slides, alongside printed and moving image works that deal with acting techniques and screen history. The space sets a scene of framing, cutting, reading, looking and embodying on behalf of an employer.
The work of Quenton Miller looks at the relations between thought, form and format. His projects misuse narrative making tools from art fields and non-art fields, looking at language manipulation and the way narratives are able to create or erode political realities.
Miller (1981, AU) has exhibited at Centrale Fies, Trentino (2016), SMBA, Amsterdam (2015), Apex Art, New York (2008, 2011), 1646, the Hague (2016), West Space, Melbourne (2011). His work produces a range of formats and outputs, including texts published by Guernica Magazine and the Believer, and cartoons appearing in journals and daily newspapers. Miller also collaborates with Ilke Gers, as the publication collective Action. During their simultaneous exhibitions at JOEY RAMONE, works made as Action will be inserted around the gallery.
8-12 February, 2017, Art Rotterdam, Van Nelle Fabriek, Rotterdam. As part of Action.
For Live Works, part of World Breakers Festival,
Centrale Fies, Trentino, 2016
Stedelijk Museum Bureau Amsterdam, April 18–May 31, 2015.
“Resolution 827” is the outcome of a collaboration between Stedelijk Museum Bureau Amsterdam and the Museum of Contemporary Art, Belgrade. The title of the exhibition, “Resolution 827”, refers to the UN resolution that was adopted in 1993 establishing the International Criminal Tribunal for the former Yugoslavia (ICTY). The artists involved in this exhibition scrutinise questions of responsibility in each of the societies in question, but their contributions also revolve around the way in which we can relate to the atrocities through the procession of the visual and audio files collected from ICTY and other archives.
Curated by Jelle Bouwhuis, Zoran Erić and Joram Kraaijeveld. With contributions by: Kristina Benjocki, Lana Cmajcanin and Adela Jušić, Anna Dasović, Doplgenger, Saša Karalić, Vladimir Miladinović, Quenton Miller, Charles van Otterdijk, Nikola Radić Lucati.
An article and interview in The Atlantic here: www.theatlantic.com/technology/archive/2014/10/roger-eberts-wikipedia/381239/, the story flowing on to articles in The Chicago Sun Times and Indiewire here: http://entertainment.suntimes.com/entertainment-news/roger-eberts-wikipedia-work-revealed/ and here: http://blogs.indiewire.com/criticwire/roger-eberts-wikipedia-edits-collected-as-a-book-20141009
Interview with Achal Prabhala for the Believer, part of an ongoing series of Wikipedia related interviews.
“The presumption of translation is a way of saying “look, the world is one thing. We’ve written it down. Why would you bother to rewrite it?””
The Confidence Man, Herman Melville’s farewell to fiction, is made up of a series of meetings on a steamboat heading down the Mississippi. Actors and professional speakers will deliver speeches adapted from the text as a theatrical performance.