Diena Georgetti

Inexact Science, Arch Lane Public Art, Artist Diena Georgetti 1989 Photo: David Holden
Installation View, Hiram To and Diena Georgetti, Umrib Envoy, That Contemporary Art Space, One Night 1987 PHOTO Hiram To

BIO

Art Practice Keywords:

Artist

 

Artist Role Keywords:

Collaboration/ Collaborator names Keywords:

 

 

Collections

Various Private Collections

CV

b. 1966, Alice Springs, lives Brisbane

 

EDUCATION

1986 Diploma of Art, Queensland College of Art, Brisbane

 

SOLO EXHIBITIONS

2016

[as yet untitled], The Commercial Gallery, Sydney

 

2015

[as yet untitled], The Young, Wellington

 

2014

Foyer, Hamish McKay Gallery, Wellington

 

2013

Folk Modern, Sarah Cottier Gallery, Sydney

ACT HUNGER, (with Mary Teague), The Young, Wellington

 

2011

Jaguar is Jaguar, Sarah Cottier Gallery, Sydney

Brutalist Geometry Set 1 & 2, Hamish McKay Gallery, Wellington

 

2010

Composa, Michael Lett Gallery, Auckland

The Enthusiast, Darren Knight Gallery, Sydney

 

2009

Community of the People Woven Wall Hangings, Hamish McKay Gallery, Wellington

 

2008

The Humanity of Abstract Painting: A survey exhibition 1988-2008, curated by Max Delany and Robert Leonard, Monash University Museum of Art, Melbourne and Institute of Modern Art, Brisbane

 

2007

BLOK PLASTIK, Darren Knight Gallery, Sydney

 

2006

The Humanity of Construction Painting, Darren Knight Gallery, Sydney

 

2004

So far I remember who you are but wonder who you’ll be, Hamish McKay Gallery, Wellington

 

2003

Lost to the thing of it, Hamish McKay Gallery, Wellington

 

2002

The Humanity of Abstract Painting, Hamish McKay Gallery, Wellington

 

2001

I hardly know her, and my life is nearly over, Sarah Cottier Gallery, Sydney, Hamish Mckay Gallery, Wellington

 

1999

Makers, Sarah Cottier Gallery, Sydney and Australia Minx Design Studio, Melbourne

 

1998

You’re Living All Over Me, Anna Schwartz Gallery, Melbourne

 

1997

I have wept so much here, that I am touched by my own beauty, Sarah Cottier Gallery, Sydney

 

1996

Martyrs do not underestimate the body, Sarah Cottier Gallery, Sydney

 

1994

The time of your miracle will soon be over, Anna Schwartz Gallery, Melbourne

The Civilisation of the Abstract, Contemporary Art Centre of South Australia, Adelaide

The Dimension that comes from the centre of our skulls, Bellas Gallery, Brisbane

 

1993

The Whitening of the Recent Darkness, Sutton Gallery, Melbourne

Dare la Precedenza, 200 Gertrude Street, Melbourne

 

1992

NATURPHILOSOPHie, Store 5, Melbourne

Australia wie so primitive, wie so sensible, Institute of Modern Art, Brisbane

Self-titled, Sutton Gallery, Melbourne

 

1990

4 Diamonds (Serpent Frottage), Store 5, Melbourne

 

1989

Promotion Space Installation, Arch Lane Public Art, Brisbane

Empirical, State Library of Queensland, Brisbane

Rest de Kreatur, Institute of Modern Art, Brisbane

Restoration of an Alienated Being, Arch Lane Public Art, Brisbane

 

1988

Inneres, Arch Lane Public Art, Brisbane

Will for Amalgamation, David Jones, Brisbane

Will for Amalgamation, Mini MOCA, Museum of Contemporary Art, Brisbane

Focal Panorama, Brisbane, Rome, Dusseldorf, London, UK Landkarte

Landkarte, Interface Office, Brisbane

Recording Data, All Saints Hall, Brisbane

 

1987

Umrib Envoy, THAT Contemporary Art Space, Brisbane

 

1986

Plateau-Plateau, THAT Contemporary Art Space, Brisbane

 

SELECTED GROUP EXHIBITIONS

2015

The Commercial, Sydney Contemporary 2015, Carriageworks, Sydney

Casual Conversation, Minerva, Sydney

Man, Tristan Koenig Gallery, Melbourne

The Kaleidoscopic Turn, curated by Jane Devery and Serena Bentley,

National Gallery of Victoria, Melbourne

Believe not every spirit, but try the spirits, curated by Lars Bang Larsen and Marco Pasi, Monash University Museum of Art, Melbourne

 

2014

Girls Abstraction, Hamish McKay Gallery, Wellington

 

2013

Born to Concrete: Visual poetry from the collections of Heide Museum of

Modern Art and The University of Queensland, University of Queensland

Art Museum, The University of Queensland, Brisbane

Porous Moonlight, Papakura Art Gallery, Auckland

The Knock-Off Show, Slopes, Melbourne

 

2012

Negotiating the World: Contemporary Australian Art, National Gallery of Victoria, Melbourne

Forever Young: 30 Years of the Heide Collection, curated by Sue Cramer, Heide Museum of Modern Art, Melbourne

 

2011

Black elastic, two umbrellas, a mint leaf & wheels, curated by Rosemary Forde, Monash University Museum of Art, Melbourne

First Show, Station Gallery, Melbourne

 

2010

Before and After Science, curated by Charlotte Day and Sarah Tutton, Adelaide Biennial 2010, Art Gallery of South Australia, Adelaide

Everything is near and inflorescent, forever and present, Michael Lett Gallery, Auckland

LET IN LIGHT, Hamish McKay Gallery, Wellington

Painting (as one), Australian Experimental Art Foundation, Adelaide

 

2009

Temperature 2, New Queensland Art Museum of Brisbane, Brisbane

Victory over the sun, curated by Melissa Loughnan and Helen Hughes,

Utopian Slumps, Melbourne

RBS Emerging Artist Award 2009, curated by Susan Manford, Renzo Piano RBS Tower, Sydney

Cubism in Australia, curated by Sue Cramer and Lesley Harding, Heide Museum of Art, Melbourne

 

2008

Lost & Found: An Archeology of the Present, curated by Charlotte Day, Tarrawarra Biennial 2008, Tarrawarra Museum of Art, Healesville

The In Residence, Darren Knight Gallery at Silvershot, Melbourne

Diena Georgetti, Michael Harrison, Saskia Leek and Ricky Swallow, Hamish McKay Gallery, Wellington

 

2007

Diena Georgetti, Darn Arps, Mary Teague, Michael Lett Gallery, Auckland

The World in Painting, curated by Zara Stanhope, Heide Museum of Art, Melbourne, Asialink at the University of Melbourne, Australia, Phillipines,
Thailand

Artist makes video – art rage survey 1994-1998, DELL Gallery, Queensland Collage of Art, Brisbane

 

2006

21st Century Modern, curated by Linda Michael, Adelaide Biennial 2006, Art Gallery of South Australia, Adelaide

16, Brisbane comes to Sydney, Sydney Non Objective, Sydney

 

2005

Pitch Your Own Tent: Art Projects, Store 5, 1st Floor, Monash University Museum of Art, Victoria

Predictive txt, Hamish Mckay Gallery, Wellington

Makeover, Govett-Brewster Art Gallery, New Plymouth

Store 5 is…., Anna Schwartz Gallery, Melbourne

 

2004

So far I remember who you are but wonder who you’ll be, Hamish Mckay Gallery, Wellington

Post Contemporary Painting, Institute of Modern Art, Brisbane

Fantasy Island, Michael Lett, Auckland

Frieze Art Fair, Hamish McKay (stand), London

 

2003

I’m only sleeping, curated by Ronnie van Hout, Hamish McKay Gallery, Wellington

10, Sarah Cottier Gallery, Sydney

3 Way Abstraction, Monash University Museum of Art, Melbourne

Home & Away: Place and Identity in Recent Australia Art, Monash University Museum of Art, Melbourne and Swan Hill Gallery, Victoria
Liste, Michael Lett Gallery, Basel

 

2002

Final Exhibition, First Floor, Melbourne

ARCO, Madrid

Hamish Mckay Gallery, Basel

Art 33’02, Basel

 

2001

ARCO, Madrid

Sarah Cottier in Melbourne, Windspan Gallery, Melbourne

Painting: An Arcane Technology, The Ian Potter Museum of Art, Melbourne

 

2000

ARCO, Madrid

Art 31’00, Basel

GOLD, Sarah Cottier Gallery, Sydney

 

1999

Art 30’99, Basel

Patent (with Anne-Marie May), Project Space, RMIT, Melbourne

Exhumed II, Canberra Contemporary Art Space, Canberra

The Trouble with Harry, curated by Peter Westwood, Project Space, RMIT, Melbourne

Group Exhibition, Sarah Cottier Gallery, Sydney

 

1998

Opening Exhibition, Sarah Cottier Gallery, Sydney

Special Issue, First Floor, Melbourne

Exhumed, curated by David Noonan, Project Space, RMIT, Melbourne

 

1997

Record, Basel Art Fair, Basel

Aeropost, Dublin, Ireland

 

1996

Women Hold up Half the Sky: The Orientation of Art in the Post War

Pacific, Monash University Gallery, Melbourne

Raindrops on Roses, Sarah Cottier Gallery, Sydney

Heirloom, Monash University Gallery, Melbourne

Practice as Technology, 200 Gertrude Street, Melbourne

SWIM2, Support Women Image Makers, Project Space, RMIT, Melbourne

 

1995

Monash University Art Prize, curated by Judy Annear, Monash University Gallery, Melbourne

Australian Perspecta 1995, Art Gallery of New South Wales, Sydney

 

1993

5th Australia Sculpture Triennial, Melbourne

 

1992

9th Biennale of Sydney: The Boundary Rider, Art Gallery of New South Wales, Sydney

The Caboose, Ars Multiplicata, Sydney

 

1991

Vache, aglassofwater, Brisbane

WT Rawleigh Building The Grotto, Store 5 Travelling Exhibition, Paris France

Signals, Bellas Gallery, Brisbane

 

1990

Where Art Ends and Nature Begins, curated by Stephen Bram, Store 5, Melbourne

Instant, First Draft West, Sydney

10 x 10, Milburn and Arte, Brisbane

Architecture of Light, Mori Gallery, Sydney

Mist from the Chest, aglassofwater, Brisbane

Real Art, Institute of Modern Art, Brisbane

RESPECT, Milburn and Arte, Brisbane

In Full Sunlight, First Draft West, Sydney

 

1989

In Full Sunlight, 10 000 Feet, Melbourne and aglassofwater, Brisbane

Inexact Sciences, Arch Lane Public Art, Brisbane

Uncommon Knowledge, Queensland Art Gallery, Brisbane

Visual Poetics, Museum of Contemporary Art, Brisbane

The Truth, Arch Lane Public Art, Brisbane

Salle de Reconnaissance, Institute of Modern Art, Brisbane, Australian

Centre for Photography, Sydney and 200 Gertrude Street, Melbourne

Topographical, Bureau Artspace, Brisbane

 

1988

Interface Artists, Queensland Art Gallery, Brisbane

Axis: Does New York Exist?, New York, Brisbane

(I)magical Poetics, Institute of Modern Art, Brisbane

Bureau, Bureau Artspace, Brisbane

 

1987

A Monochrome Self, THAT Contemporary Artspace, Brisbane

Scapegrace, THAT Contemporary Artspace, Brisbane

 

SELECTED BIBLIOGRAPHY

2015

Patrick Hartigan, ‘Moving pictures in Sydney galleries’, The Saturday Paper, July 18, 2015

Lars Bang Larsen & Marco Pasi, ‘Believe not every spirit, but try the spirits’, exh. cat. Monash University Museum of Art, Melbourne

 

2013

Anne Kirker, Alex Selenitsch, Born to Concrete: Visual poetry from the collections of Heide Museum of Modern Art and The University of
Queensland, exh. cat. Heide Museum of Modern Art, Melbourne and The University of Queensland Art Museum, Brisbane, 2013

2012

Sue Cramer, ‘Forever Young: 30 Years of the Heide Collection’, exh. cat. Heide Museum of Modern Art, Melbourne, 2012

2010

Geraldine Barlow, Max Delany, Kyla McFarlane, ‘Change’, Monash University Museum of Art, Melbourne, 2010, p.165

Charlotte Day, Sarah Tutton, Before and After Science, 2010 Adelaide Biennale of Australian Art, exh.cat. Art Gallery of South Australia, Adelaide, 2010

Andrew Frost, ‘Metro picks’, Sydney Morning Herald Metro, 19-25 November 2010, p.14

Sue Cramer, Lesley Harding, Cubism and Australian Art, exh.cat. Heide Museum of Modern Art, Melbourne, 2010

Robyn McKenzie, ‘Diena Georgetti, Pleasure and Comfort’, Art & Australia, Vol. 47, Autumn 2010, p.496

 

2009

Anne Kirker, Diena Georgetti: Scoping two decades, eyeline, issue 68, Autumn, 2009

‘Visual Art’, The Age, July 2009

 

2008

Max Delany, ‘The black paintings as lexicon and manifesto’, Diena Georgetti: The Humanity of Abstract Painting 1988-2008, exh.cat. Monash
University Museum of Art, 2008, pp7-9

Robert Leonard, ‘Parallel existence: Diena Georgetti’s recent work’, DienaGeorgetti, The Humanity of Abstract Painting 1988-2008, exh.cat. Monash University Museum of Art, 2008, pp55-57

Charlotte Day, Lost & Found: An Archaeology of the Present, exh.cat. Tarra Warra Museum of Art, 2008, p.53

Rosemary Forde, review, Art World Issue 5, October/November, 2008, pp.170-171

 

2006

Linda Michael, ‘Diena Georgetti’, 21st Century Modern: 2006 Adelaide Biennial of Australian Art Catalogue Essay, exh.cat. Art Gallery of South
Australia, Adelaide, 2006

Andrew Frost, ‘Sarah Cottier: Back to base’, Australian Art Collector Magazine, Issue 37, July-September, 2006, p.196

2005

Charlotte Day, ‘Diena Georgetti Dare la Precendenza, A short ride in a fast machine’, Gertrude Contemporary art spaces 1985-2005, Melbourne,
Black Inc, 2005, pp. 108

N Smith, ‘Exhibit five’, Insite Winter, 2005

 

2003

Linda Michael, ‘Home and Away’, Place and identity in Recent Australian Art, exh.cat. Monash University Museum of Art, 2003

 

2001

Natalie King, Bala Star, Painting, an Arcane Technology, exh.cat. The Ian Potter Museum of Art, The University of Melbourne, Melbourne, 2001

 

1999

S O’Connell, Exhumed, RMIT Gallery, Melbourne, 1999

Peter Westwood, The Trouble with Harry, exh.cat. RMIT Gallery, 1999

 

1998

Michele Helmrich, Salle de Reconnaissance, exh.cat. Institute of Modern Art, Brisbane, May, 1998

1995

Judy Annear, Australian Perspecta 1995, Art Gallery of New South Wales, Sydney, 1995 Axis-file (catalogues) produced in conjunction with
Queensland College of Art, Humanities Department, 1995

 

1994

Judith Pascal, The Civilization of the Abstract, exh.cat. Contemporary Art Centre of South Australia, Adelaide, 1994

 

1993

Robyn McKenzie, Dare la Precedenza, exh.cat. 200 Getrude Street, Melbourne, 1993

Eve Sullivan, ‘The Caboose’, Art and Text #44, January, 1993

Penny Webb, ‘Diena Georgetti’, Agenda #29, 1993

 

1992

Eugene Carchesio, ‘Diena Georgetti’, The Boundary Rider, 9th Biennale of Sydney, exh.cat. Art Gallery of New South Wales, Sydney, 1992

‘wie so primitive, wie so sensible’, Institute of Modern Art, Brisbane, 1992

Gary Wilson, ‘Rosebud #2’, Store 5 Publication, Melbourne, February, 1992

 

1991

Yanni Florence, ‘Edelstein’, L. Pataphysics, Melbourne, 1991

 

1990

John Nixon, J Young, Kerb Your Dog #8, 1990

 

1989

Eugene Carchesio, ‘Diena Georgetti – Rest de Kreatur’, Eyeline, Issue 10, 1989

‘Creation, a Plea for Awareness’, Courier Mail, 18 April, 1989

Sue Cramer, ‘Diena Georgetti – Rest de Kreatur’, Institute of Modern Art, Brisbane, 1989

 

1988

Ross Harley, ‘Beyond the Gallery: Art Out of Bounds’, Vogue Bicentennial Arts Guide, 1988

Michele Helmrich, Interfacing the Interface, Eyeline, Issue 6, 1988

Interface, Art and Text 28, 1988

MOCA Bulletin 7, Museum of Contemporary Art, Brisbane, 1988

M Richards, ‘Arch Lane Offers Alternative Work’, Courier Mail, 9 December, 1988

L Sear, ‘Interface: Stars Disordered’, Art Monthly, June, 1988

Urszula Szulakowska, (I)magical Poetics, exh.cat. Institute of Modern Art, Brisbane, 1988

Kenzie Wark, ed. Ross Harley, ‘Not Just a Pretty Interface’, Outer Site: Five Contemporary Art Space Projects, Australian Bicentennial Authority,
May-June, 1988

 

1987

David Gofton, ‘A Monochrome Set – The Colour of your Energies’, Eyeline, Issue 1, 1987

 

ARTIST PUBLICATIONS

1999

Patent, exh.cat. Project Space, RMIT, Melbourne

 

1989

‘Karen Turnbull: Promotions’, Eyeline 10 Inexact Sciences, exh.cat. essays, Arch Lane Public Art, Brisbane traces of Information, Bureau
Artspace, Brisbane
1988

Almost Purely Fundamental, exh. handbill, THAT Contemporary Artspace, Brisbane

 

1987

A Monochrome Set, exh.cat. THAT Contemporary Artspace, Brisbane

 

COLLECTIONS

Artbank

Art Gallery of South Australia, Adelaide

Art Gallery of Western Australia, Perth

Chartwell Collection, Auckland Art Gallery Toi o Tāmaki, Auckland

Monash University Museum of Art, Melbourne

National Gallery of Australia, Canberra

National Gallery of Victoria, Melbourne

Queensland Art Gallery/Gallery of Modern Art, Brisbane

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