29.06.2018 – 05.08.2018

Foundational within Rafaat Ishak’s practice is an interest in and knowledge of Arabic and Western art histories, and the evolving contemporary collisions and mutations through migration and points of conflict. Through painting, drawing and installation, Ishak has created a unique visual language that explores concepts of cultural intersectionality, recontextualising cultural motifs from the Middle East and the West to reflect upon a more porous global context, yet one still marred by ideological differences. For his project at Gertrude, Ishak continues this interest in cultural transference and the collapsing of historical temporalities, constructing a staircase through the gallery ceiling, enraptured by a suite of paintings that examine an imaging of the 19th century classical revival in Athens and mid 20th century Australian warplane industry.

Selected recent exhibitions include: 100 Masterpieces of Modern and Contemporary Arab Art, The Barjeel Collection, Institut du Monde Arabe, Paris, 2017; 1977, Sutton Gallery, Melbourne, 2017; Painting, More Painting, Australian Centre for Contemporary Art, Melbourne, 2016; Shifting Geometries, Embassy of Australia, Washington DC, 2012; The Other's Other, Artspace, Sydney, 2012; The Future of a Promise, Venice Biennale, 2011; NEW10, Australian Centre for Contemporary Art, Melbourne, 2010; Raafat Ishak: Work in Progress, Ian Potter Museum of Art, Melbourne, 2010; Cubism and Australian Art, Heide Museum of Modern Art, Melbourne, 2009; and the 6th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery / Gallery of Modern Art, Brisbane, 2009. Rafaat Ishak is represented by Sutton Gallery, Melbourne.


29.06.2018 – 05.08.2018

For this new body of work, Khadim Ali interrogates the temporal linearity of past, present and future as it may pertain to the experiences of those dislocated from their cultural and geographical connection points. Drawing a parallel with the triangulation of the relationship between a mother, father and child, Ali brings attention to what may eventuate with the rupturing of linkage points between family, and indeed between connection points to time. Central to these inquiries is what might constitute home when geographically estranged, and what might constitute a past when the present is so unfamiliar. Through his intricately rendered drawings and paintings, and tapestries produced in cooperation with traditional artisans, Ali connects the present condition of diasporic peoples with historical narratives of struggle, persecution and dislocation.
Selected recent solo exhibitions include: The Arrival, Milani Gallery, Brisbane 2016; Transitions / Evacuation, ARNDT, Singapore, 2014; The Haunted Lotus, Art Gallery of New South Wales, Sydney and Hong Kong Visual Arts Centre, Hong Kong, 2013; Rustam, Rohtas 2, Lahore, Pakistan, 2007, and Green Cardamon London, UK, 2005. Selected recent group exhibitions include Enough خلاص Khalas, University of New South Wales Galleries, Sydney, 2018; Bearing Points, Dhaka Art Summit 2018, Bangladesh Shilpakala Academy, Dhaka, Bangladesh, 2017; The National, Museum of Contemporary Art, Sydney, 2017; On Return and What Remains, Artspace, Sydney, 2014, and CACSA, Adelaide, 2015; No Country: Contemporary Art from South and Southeast Asia, Solomon R. Guggenheim Museum, New York, 2012; and dOCUMENTA(13), Kassel, Germany; Kabul, Afghanistan, 2012.
Khadim Ali is represented by Milani Gallery, Brisbane.