joint hassles

2011-09-01T21:29:00.000-07:00

STATE OF DECAY

A GROUP SHOW CURATED BY HELEN HUGHES & HARRIET MORGAN
CHAPMAN AND BAILEY GALLERY

ALEX VIVIAN. MARCO FUSINATO. MARK GROVES. CHRISTOPHER LG HILL. JOHN NIXON. BLAKE HESKETH. LUKE HOLLAND. HARRIET MORGAN. STEWART COLE. TOM MILLER.

REFLECTIVE WRITTEN RESPONSES FROM
HELEN HUGHES. HARRIET MORGAN. CHRISTOPHER LG HILL. SIMON TAYLOR.

STATE OF DECAY looks at the literal and metaphoric concept of deterioration within life and imagery. The ever-impending feeling of both existing and ending, and the effect we have on the all the elements that go together to make the world we live in. The artists involved all differently communicate this aesthetic or ideology, displaying their thoughts on decomposition, mortality, decay and adverse experimentation within their visual and audio practices, whilst also simultaneously communicating how a human might feel, operating on a day-to-day basis- within this decaying and rotting earth.

STATE OF DECAY embodies the conscious & unconscious impact of living, the outcome of death, the emotional mindset associated with it all & the visual effects that fading, ageing, rotting, wear, time or hand can have on an image and the mind.

2011-09-01T21:18:00.000-07:00

STATE OF DECAY

2011-03-13T21:15:00.000-07:00

RECENT WORK FROM LOST DOGS' FUNDRAISER SHOW BY HARRIET K MORGAN

2011-02-14T21:22:00.000-08:00

2011-01-29T21:18:00.000-08:00

HARRIET KATE MORGAN AT TCB :

KILLED BY DEATH

2011-01-29T20:58:00.000-08:00

KATHERINE HATTAM (MY MUM), WRITTEN FOR HER CATALOGUE ABOUT RECENT SHOW INVENTORY

DESIRE AND THE IMPOSSIBLE

In choosing to represent something, you become a part of it, even after the fact of re-presentation. To depict something from life is to positively obsess. Katherine Hattam reflects the want and confusion in life that so many people as artists choose to repress. She includes the minutiae that many exclude to communicate a point and in doing so shows a sense of a life having been lived, marks having been practised repeatedly for years - as well as an exacting compositional schedule.

For those pre-disposed to any mania, anxiety, or just obsessive qualities be they good or bad, Hattam's paintings should appear like a normal projection of thought/thoughts at any given time, just like making a list. As her daughter, I can see her desires so clearly as we operate similarly on many differing levels. I see something and it inspires me and I wish I had been its creator. For instance, I wish i had been Ozzy Osbourne from Black Sabbath in the seventies, who thought it might be a good idea to make scary music, now known more definitively as the genre Metal, but in this day and age it's harder to be an absolute creator. There's always so much that comes before you and what you do have left after being exposed to so much - choice, a myriad of choice.

Hattam has chosen to be a mother and a dedicated artist and nothing has or will come between these two things. Family is an overriding feature to someones' life and has absolutely everything to do with how they operate. Hattam's work can not escape the concept of family as this is a central obsession and always will be. She transfers the everyday into something worth being depicted as if you are a visitor in the Thornbury house. It's her unstoppable need to draw, to put pen to paper or to just do something that has kept her art as her profession since she was a young girl.

As family friend and artist Alex Vivian would say, I love how you're Mum just does stuff. She doesn't talk about it, she just does it and that has inspired me to stop talking and just do...

My friends involved in art comment to me constantly comment, 'saw your mum last night at this exhibition and then she was going to another'. Her dedication to art and all it embodies is exactly what her work is about. Here, her desire turns into the actual. She has captured her obsession and anchored it so that her heavy consideration and thought can rest and then perhaps mean something later. Her ideas formalise and come together out of trial and error, looking and constant experimentation. this combined with her constant hunger to achieve what she wants from art. It proves that there's something to be said for being a generational artist who relates and looks at what those younger than her are doing as there is a irreplaceable freshness to be found in their visual language. Looking and doing as two modes typical to her process has made the paintings sustain their original idea and then progress towards wholeness.

My friend commented on the fact that Rock'n Roll and Metal, are mens' worlds. This is particularly hard to swallow when you are a woman and you want to play metal, like myself. Through perseverance though, this becomes a non-reality for any woman in a musical genre such as metal i.e if you don't go away then people eventually have to take notice. This is not to degrade the position of a female within anything that's predominantly a mans' world, such as art or music at any particular time in history and this as an idea could easily be argued against. As a female though, it's as undeniable as anything displacing is to any kind of minority. Things have changed dramatically within art and literature but career-wise, Hattam, being a young female-artist in her time, faced a similar and deterring mood.

This mood no-longer exists today in contemporary art but it wasn't always as inclusive by any means. Instead of accepting defeat, Hattam looked to something more relevant, such as what young people think and how they see things. In doing so, her work has benefitted in ways indescribable and she has be come a more confident and brilliant artist from pure and sheer determination- null and void of any complacency. This is why her work is so intense and absolutely her own.

In Inventory all of these things within Hattam's life come together to represent desire in life and how to express and attain it. The reoccurring imagery from past paintings, hair and paint brushes, Rodchenko's tea-pot and scissors still remain as reminders of what it is to be her on a day-to-day basis or familiarity. The new inclusions, family pets, Jon Campbells' and Sidney Nolan's paintings and her sisters' Brooklyn windows all push through and take-over to include new desire over old. Thoughts replace thoughts and ideas emerge without the artist consciously knowing how they got there. It's inexplainable as much as it is literal and it's basically just life encapsulated in a visual language representing mood, change and drive.

http://katherinehattam.com/

2011-01-29T20:56:00.000-08:00

artprogram

Gertrude Contemporary Art

Spaces and Art & Australia

Emerging Writers Program

Harriet Morgan

UNITY, STRENGTH AND PRIDE run through the work and ideologies of the Brisbane-based proppaNOW collective. In their recent drawing exhibition, ‘Jus’ Drawn’, Vernon Ah Kee, Tony Albert, Bianca Beetson, Richard Bell, Andrea Fisher, Jennifer Herd, Gordon Hookey and Laurie Nilsen continued the urgent discussion of what it means to be a contemporary, urban Aboriginal artist. When exhibiting individually, these artists have their own established methods, styles and positions within the Australian art world. But as proppaNOW, they collaborate and work with different materials to characterise a challenging new Aboriginal voice within contemporary art.

In ‘Jus’ Drawn’ as with any group show, especially one focused on a specific medium, the levels of success were bound to vary. This, however, didn’t appear to be proppaNOW’s greatest concern. The central ideas in ‘Jus’ Drawn’ were communicated with an inherent ease. Even if the immediate look of the show appeared ordered, linear and consistent, with a stark placement of work, any seriousness was undercut by the comedic and playful elements of the group – most notably with Hookey’s 2010 ‘Animals’ series, and Bell’s colourful and collaborative wall piece which connected two of the rooms at Linden – a location not usually associated with Indigenous heritage.

The closeness and positive values of the collective certainly shone through. As well as a stimulating and shared practice employing materials such as paper, graphite, ink and charcoal, even the exhibition’s title, ‘Jus’ Drawn’ echoed an easy and natural communication between the artists. As Ah Kee explained in an artists statement:

Drawing is something that we do. As Aboriginal people, as Blackfellas, drawing is something we all do …

Intuition and spontaneity were evident in the artists’ mark-making, though some marks in the show seemed to have been rehearsed more than others. In her 2010 suite of work ‘On Dying’, Herd transformed unimaginable grief into calming and natural forms. The drawings were made with an underlying but powerful sense of what it is like to experience death. In so doing the work propelled a purely ‘cultural’ dialect into a broader language – one of a mother, an artist and a human.

Hookey’s work operated on the other end of the emotional spectrum, depicting typically un-Australian animals such as the beaver or donkey by using thick and heavy cross-hatching, playfully reinstating the animals’ distance from any sort of typical Indigenous iconography. From this room the mood rapidly changed again, the strokes lightening, as Ah Kee’s precision stood out. The artist’s considered and confident markings were comparatively cooler and less humorous. A skilled draughtsman, Ah Kee’s drawings transcended race, with method as much as meaning determining the final outcome.

As well as togetherness, ‘Jus’ Drawn’ suggested an ongoing identity crisis. Connecting the group was a strong sense of double displacement – as artists and as Aboriginal people – which was where the show became paradoxical. Yes this was a collective show of a group of practising contemporary artists, but it was also about their individual Aboriginality. This central paradox was of course part of proppaNOW’s quest: to create a more accurate view of how complicated contemporary Aboriginal art has actually become.

Through a base exercise in drawing, proppaNOW reflected on what it is to be of Aboriginal heritage, but by eschewing a singular approach, the group brought mixed feelings about their people’s displacement to the surface. Choosing contrary ideas of location, medium and subject, the collective managed to dispute any absolute definition of Aboriginality within contemporary art.

Harriet Morgan was mentored by Dr Christopher McAuliffe, Director of the Ian Potter Museum of Art, the University of Melbourne; Jus’ Drawn by proppaNOW, Linden Centre for Contemporary Arts, Melbourne, 7 August – 12 September 2010.

http://proppanow.com/

2011-01-29T20:50:00.000-08:00

RECENT WRITINGS BY HARRIET KATE MORGAN

CATALOGUE PIECE FOR DAMP'S BOOK OF SHADOWS @ GERTRUDE CONTEMPORARY

REMEMBER THE PAST AND REVEL IN THE FUTURE

DAMP has re-represented the sacred Book(s) of Shadows seen in the popular long-running television show- Charmed. In the show, there are three witch sisters, who all use their own Book of Shadows as a source of ritual, magical practices and the ethics and philosophy surrounding witchcraft. As on television, DAMP’s books hold together the essence of the collectives’ every virtue and belief, whilst celebrating the very tangible proof that things have been shared and discussed at a point in time, as well as over a longer period. Most importantly, DAMP proves that there is undeniable significance in (even imagined) beliefs, and that they can take a group, such as DAMP, or yourself- anywhere. Here, in their Book of Shadows, DAMP makes dreams more believable, whilst at the same time, takes celebrating them seriously.

These books appear to be designed more for commemoration than curse or spell. The contents symbolize everything the DAMP collective has thought, dreamed of or imagined, tracing back to when they first began five years ago, which in itself, is a milestone. The weight and look of the books themselves represents the commitment of contribution and the reality that DAMP has existed through many changing times.

Members of DAMP have changed along the way and people have come and gone. These books make sure to record the movements of members and their ideas so as to elucidate everyone’s thoughts at any given time. The overall anonymity within the books takes the emphasis away from the importance of the idea of an artist’s individual authorship, which is something so awfully central and fundamental to being an artist generally. Under this chosen anonymity, the artists’ thoughts subsequently take on independent group meaning, allowing the books’ pages flow on together in an unformalised yet with an undeniable and unspoken unity.

The books function as powerful tools that allow dreams of possible trajectories and movements to evolve and exist in a form that differs from the actual. The books’ physical importance can be seen immediately in the very objects themselves. They look as though they belong only in certain hands and appear actually larger than life. Held upon DAMP-made lecterns and a detailed hand-painted rug, the books further materialize as the literal, fantastical and creative records of DAMP’s history. The setting helps to further the hope that the books might open suddenly and the pages turn themselves. They speak of past, present and future and most importantly, are yet to be completely filled. They are the beginning of DAMP’s unspoken and unseen history and although every page is different, an underlying union can be seen, felt and recognised.

As humans, we often forget the importance of acknowledging not only the strength that a group embodies but we also tend to overlook the underrated importance of making sure to represent and announce the possibilities we may be able to achieve when together. DAMP work together, in order to make work together. This involves meetings and many differing conversations between members and the books tell the tale of this longitudinal relationship. In a group ideas can be lost, and quickly at that. Here, DAMP has recorded as many of their ideas as possible for viewers to look at and touch- at their chosen leisure, so that they can ignite as much imaginination within the audience as possible. The fact that there are still pages to be filled, demonstrates an unstated and almost unwritten continuity- of production, as well as DAMP itself. It’s possible that they will never be filled. It’s an ongoing collective us-story that non-DAMP members couldn’t possibly be sure of, unless they then asked to become directly involved.

DAMP have encapsulated this very idea of the strength of a group memory and in the Book(s) of Shadows, they’ve illuminated it all through drawing, collage and medieval calligraphy among other things. DAMP realises the absolute diversity of their creative mind-pool and so, have chosen to bring to life those ideas that come to them as a flash of intense impossibility. These moments and those of humorous sincerity suddenly become real and subsequently a serious possibility, especially when they’re then put forward to and approved by a group of creative minds.

The Book of Shadows allows something as forever changing as DAMP to evolve without possible regression. For DAMP themselves, the books act as ways to remember rewarding relationships and things shared with people who’ve been involved in whatever way. For us they embody the group as a whole and achieve something that’s more potent than the sum of any group of individuals - unity when beholding it.

2010-06-17T07:58:00.000-07:00

KILLED BY DEATH

HARRIET KATE MORGAN

TCB GALLERY

9TH-26TH JUNE

THANKS TO THOSE WHO CONTRIBUTED
MARCO FUSINATO
ODETTE FIDELDY
ALEX VIVIAN
JAMES DEUTSHER
MATTHEW BROWN
HELEN HUGHES
SIMON TAYLOR
JUSTIN K FULLER
MARK GROVES
MASATO TAKASAKA
CHRISTOPHER LG HILL
KATHERINE HATTAM
JIM MORGAN
SIMON DENNY
MATT GRIFFIN
TOM MILLER
BLAKE HESKETH
WILL MACKINNON
SEAN BAILEY
JARROD RAWLINS
LUKE HOLLAND
A CONSTRUCTED WORLD

2010-03-12T19:53:00.000-08:00

JESS LUCAS & SEAN BAILEY
CURRENTLY AT NEON PARC

APPLYING YOURSELF AND BREAKING DOWN

Every day I have to cleanse in order to manually ‘take off the day’. My cleanser actually has that on it’s bottle as its’ characterising slogan.

Both artists have reached a uniting point similar in meaning here. They both literally capture the process and time spent in applying and removing anything, which is something most of us face habitually on a day-to-day basis. It’s confronting to become aware of your presence and these actions- paint to canvas or even to face, but it also makes you who you are. Some of these processes are so familiar that it seems more ridiculous and confronting to stop them, than to go on proceeding maintaining them.

I put this on and then I feel normal

I have been in situations where I’ve gone around speaking to people all day and then realised at the end of the day that I look like Marge when Homer shoots her with the make-up gun that’s set on whore. In some lights I seem flawless, only to catch my cake-face in some brutal truth-telling mirror out on the town three hours into the evening. My perception of reality totally changes and the thing that was meant to be making me feel “better” makes me feel weird and displaced.
It seems that both artists’ paintings act as similar transformational surfaces, capturing fleeting moments of release. These moments however are then polarised by them into moving and accidental balanced states, like a look-in to an un-blocked equilibrium.

You go to look at a certain point within either artist’s work only to find that you can’t focus amongst the complete matter of paint and detail of their marks. There is something underneath we can’t quite reach that allows you to look at the work not just a flat painted surface but as an idea and aesthetic that’s free enough to celebrate totally but has the weight of being built up over time. The same could be said of those personally defining everyday marks we make. Practice, procedure and re-application often defines us in our world and we hope that enough people perceive the final result how we intended them to initially.

In this case though, it seems as though the artists are aware of this as a-sometimes possibility and an ok impossibility. They are sure about one thing though, and here they have turned it into something staggering, stimulating and skillfully strange- uncertainty in life and being more than ok with that.

Harriet Kate Morgan

2009-11-01T21:32:00.000-08:00

THANKS SO MUCH TO GAMBIA CASTLE FOR THEIR HOSPITALITY AND SUPPORT

MORE IMAGES TO COME

2009-11-01T21:21:00.000-08:00

CROSS COLOURING

IMAGES FROM NEW ZEALAND - GAMBIA CASTLE

DANIEL MALONE
ROB MCHAFFIE
HARRIET KATE MORGAN
KATE NEWBY
KAIN PICKEN & ROB MCKENZIE

ALEX VIVIAN

JAMES DEUTSHER & JOSH PETHERICK (FLOOR)

2009-11-01T21:14:00.000-08:00

CROSS COLOURING AT HELL GALLERY
JOINTHASSLES AND GAMBIA CASTLE

2009-09-14T03:17:00.000-07:00

From: Jess Johnson <hellgallery@gmail.com>
Date: 14 September 2009 1:02:05 PM
To: Jess Johnson <hellgallery@gmail.com>
Subject: CROSS COLOURING / Opening Friday 18 September 6 til late

CROSS COLOURING
An exchange between Gambia Castle (NZ) / Joint Hassles (MEL)
Curated by Harriet Kate Morgan and Sarah Hopkinson
Opening Friday 18 September 6 til late
September 19 – October 10, 2009

Josh Petherick / Alex Vivian / Jess Lucas / Kate Smith / Harriet K Morgan / Christopher LG Hill / Lane Cormick / Rob McHaffie / Helen Johnson / Kain Picken & Rob McKenzie / Nick Selenitsch / Sean Bailey / James Deutsher / Dan Arps / Nick Austin / Andrew Barber / Fiona Connor / Simon Denny / Daniel Malone / Tahi Moore / Kate Newby / Tao Wells

In early 2009, Joint Hassles were edged out of their gallery space in Northcote due to Melbourne’s inner-city rent hikes. On becoming spaceless the Joint Hassles artists have climbed out of the white cube and been making friends… hosting art events in bedrooms, backyards, public parks and music venues. In the interests of sharing, Hell Gallery decided to offer up its premises. Joint Hassles asked if they could bring a friend and a third gallery was invited to the party. Gambia Castle is a gallery co-operative based in Auckland, NZ. Sharing similar ideologies in community and collaboration, Joint Hassles and Gambia Castle will come together at Hell Gallery in a group show of over twenty artists.

Jess & Jordy / Hell Gallery
5a Railway Place, Richmond 3121
Open Saturdays 12 - 5pm or by appointment
0431 974578 / hellgallery@gmail.com
www.hellgallery.blogspot.com
http://jointhassles.blogspot.com
http://www.gambiacastle.net

**********************************

2009-09-14T02:42:00.000-07:00

CROSS COLOURING

AN INTERNATIONAL EXCHANGE BETWEEN JOINTHASSLES AND GAMBIA CASTLE

DAN ARPS
NICK AUSTIN
KATE NEWBY
ANDREW BARBER
FIONA CONNER
SIMON DENNY
DANIEL MALONE
TAHI MOORE
TAO WELLS
JESS LUCAS
JOSHUA PETHERICK
SEAN BAILEY
LANE CORMICK
HELEN JOHNSON
KATE SMITH
HARRIET K MORGAN
JAMES DEUTSHER
CHRISTOPHER LG HILL
ROB MCHAFFIE
KAIN PICKEN&ROB MCKENZIE
ALEX VIVIAN
NICK SELENITSCH

GROUP SHOW CURATED BY HARRIET K MORGAN AND SARAH HOPKINSON

OPENING FRIDAY 18TH SEPTEMBER 6-LATE

HELL GALLERY

2009-09-14T02:01:00.001-07:00

ALEX VIVIAN

GROUP SHOW, "VICTORY OVER THE SUN." UTOPIAN SLUMPS, CURATED BY HELEN HUGHES AND MELISSA LOUGHNAN. 11th JULY 2009

2009-08-18T20:10:00.000-07:00

JOINT HASSLES 2ND POSTER SHOW

SEAN BAILEY'S HOUSE

WASTED TRUTH + SNAWKLOR

25TH OF JULY

HARRIET MORGAN/A CONSTRUCTED WORLD/NICK SELENITSCH

WILL MACKINNON

MARCO FUSINATO/MATT GRIFFIN

ROB MCHAFFIE/JUSTIN K FULLER/MATTHEW HOPKINS

KATHERINE HATTAM

NICK MANGAN/JAMES DEUTSHER+CHRISTOPHER LG HILL/KAIN PICKEN

SEAN BAILEY+JOHN NIXON/KIAH GM/SIMON TAYLOR/NATHAN GRAY+JULIE BURLEIGH

HELEN JOHNSON/BIANCA HESTER/JOSH PETHERICK

JESS LUCAS+LEWIS BOYES

ALEX VIVIAN/SEAN BAILEY/MASATO TAKASAKA/ROSE NOLAN

PAT FOSTER+JEN BEREAN/KATE SMITH/GEOFF NEWTON/SIMON DENNY

2009-07-26T00:19:00.000-07:00

CHRISTOPHER LG HILL

PAINTED OVER GRAFFITI

FRONT OF OLD JOINTHASSLES

2009-07-26T00:12:00.000-07:00

KATE SMITH

STOOPID BOOGIE FUTCHA (ABOVE)

PAINT STICKS AND SBF (BELOW)

2009-07-21T19:17:00.000-07:00

POSTERS

In your own room, posters fill a lack and at the same time create an identity. The lack is an idea but its not one I carry out or relate to. Some people tend to be fine with having nothing on the walls (which by the way is fine, it’s just not me etc). Wall adorning is one of the actions you can be involved in, amongst other ideas like representative t-shirt and patch wearing. Posters are less of this idea but in a room- they are central. Creating an identity or a representation through actual things is in itself a creation and the process doubles over. The idea is executed by the artist, say a band, someone who created a symbol, a motorcycle company, a naked woman - and then this idea is taken into a different sphere by someone- a fan or friend or anyone who recognises. I don't really have to explain posters to everyone but it is always good to clarify I guess.

The posters in this show touch on this idea in differing ways, as in I now have a different representation of these people than the one I may have had before due to the differing media Ideas are filtered through black and white and then into different aspects of their practice, music and designs. Finally, the restrictions of the paper further unite them into the generic world of a bedroom poster. In my experience posters look good anywhere and at any stage of their deteriorating career and they look especially good in a house. Since I had to move out of my parents’ house and become real (:)) I have been noticing more and more the idealness of a house gallery, (reminiscent of Dudespace). You get up and you’re at work. It’s so human and at the same time its really alien and awkward because a line is blurred.

Through doing these two shows I have seen the importance of having a space. However I also think that this Dudespace idea has been reinstated or rediscovered as something representational of Joint Hassles’ ideas. If those ideas implied by me are ones of a punk attitude, or of making ends meet, then having a show in a house couldn’t be closer to them. The old space (and space in general) had so much to do with the presentation of work and the subsequent thoughts gathered from looking at it, but in this case, now, ideas are inferred even before the show has started. We have always dealt with what we have and the means available and this is the most literal we have ever been.

2009-07-20T05:13:00.000-07:00

JOINT HASSLES PRESENTS

THE SECOND BEDROOM POSTER SERIES

POSTER BY JUSTIN K FULLER

SATURDAY 25TH OF JULY

STARTS AT ONE PMBANDS AT THREE PM

SNAWKLOR&WASTED TRUTH

FINISHES AT SIX PM

2009-07-20T05:01:00.000-07:00

MARCO FUSINATO

Marco Fusinato
THIS IS NOT MY WORLD,
2006
Design- Seldon Hunt
Dupont screenprint on trilobal polyester
124 x 1400 cm
Courtesy Anna Schwartz Gallery, Melbourne

TWIN INFINITIVES

ANNA SCHWARTZ

2009-07-12T19:59:00.000-07:00

UGLY HERITAGE

HELEN JOHNSON

AUSTRALIA IN THE SEVENTIES

2009-07-12T18:22:00.000-07:00

JOINT HASSLES BEDROOM POSTER SERIES

HARRIET KATE MORGAN/BIANCA HESTER/KAIN PICKEN

JUSTIN KENT FULLER

PAT FOSTER + JEN BEREAN

WILL MACKINNON/KAIN PICKEN

ROB MCKENZIE

KATE SMITH

JARROD RAWLINS

A CONSTRUCTED WORLD

DAMP

HARRIET KATE MORGAN

HELEN JOHNSON

MATTHEW HOPKINS

SIMON DENNY

HELEN JOHNSON/TREVELYAN CLAY/MATTHEW GRIFFIN/HARRIET K MORGAN

CONSTRUCTED WORLD/KATE SMITH/NICK SELENITSCH

BEN RAYNOR

KAIN PICKEN

MARCO FUSINATO

BIANCA HESTER

ALEX VIVIAN/DAMP/JESS LUCAS + LEWIS BOYES

GEOFF NEWTON

JOHN NIXON

ROB MCKENZIE

JOSH PETHERICK

JAMES DEUTSHER + CHRISTOPHER LG HILL

ROSE NOLAN

SIMON TAYLOR

MASATO TAKASAKA

HARRIET KATE MORGAN

NATHAN GRAY + JULIE BURLEIGH

SEAN BAILEY

JESS LUCAS + LEWIS BOYES

TREVELYAN CLAY

ALEX VIVIAN

ROB MCHAFFIE

MATT GRIFFIN

WILL MACKINNON

2009-07-12T17:57:00.000-07:00

STENCH IN NUMBERS

ALEX VIVIAN

TCB OPENING 15TH JULY

6-8PM

2009-07-12T17:43:00.000-07:00

2009-07-12T17:32:00.000-07:00

CONSTANT GRILLS - HARRIET KATE MORGAN

CONSTANT GRILLS/KISS THE GOAT/TRIUMPH OVER SPIRIT

It’s hard enough to exist in a place where you belong let alone one where you feel as if, or where you really don’t. This is how I felt in QLD, which is where I went for a month, with the intention of staying twice as long. I didn’t even really want to be there, of all places but I wanted some sort of change.

“A reversed pentagram, with two points projecting upwards, is a symbol of evil and attracts sinister forces because it overturns the proper order of things and demonstrates the triumph of matter over spirit. It is the goat of lust attacking the heavens with its horns, a sign execrated by initiates…….

Less esoteric LaVeyan Satanists use it as a sign of rebellion or religious identification, the three downward points symbolising rejection of the holy Trinity.”

I would like to thank those who did look after me though as not all of my experience or personal change in QLD was or is bad.

These tshirts symbolize my time there as, and without going into boring detail, I definitely came back a different person in both good and bad ways. Being there made me question everything I was about and my place on the earth as an existing (female) human.

2009-02-17T05:32:00.000-08:00

HEY PPL: WE ARE CLOSED YES IT IS TRUE

BUT HOPEFULLY FOR THE TIME BEING ONLY

IN THE MEANWHILE

WE ARE TRYING TO RUN JOINT HASSLES IN A MORE NOMADIC SENSE

WE WILL HAVE PROJECTS HERE AND THERE

CURRENTLY WORKING ON A WEBSITE AMONGST OTHER THINGS

P.S IF ANYONE HAS IMAGES FROM ANY PAST EXHIBITS OR HAPPENINGS PLEASE SEND THEM TO JOINTHASSLES@GMAIL.COM

WE WOULD LOVE TO SEE THEM AND ADD THEM TO A COLLECTION WE HAVE/ARE BUILDING UP

STAY TRU

2008-10-29T04:52:00.000-07:00

SOME IMAGES FROM JARROD RAWLINS' EXHIBITION

HARRIET KATE MORGAN

JAMES DEUTSHER

NICK SELENITSCH

2008-09-28T04:55:00.000-07:00

JARROD RAWLINS

Robert and Bobby Creely Perform 'Listen' (1972 Radio Play)

OCTOBER 1ST - 11TH

6-8PM

INCLUDING WORKS BY

Sean Bailey

Alex Vivian

Helen Johnson

Rob McHaffie

Harriet Kate Morgan

William Mackinnon

James Deutsher

Christopher LG Hill

Olivia Barrett

Matt Griffin

Trevelyan Clay

Kate Smith

Katherine Hattam

Nick Selenitsch

2008-09-03T18:47:00.000-07:00

WILLIAM MACKINNON

MOUNTAINS, STREAMS AND CAVE DREAMS

OPENS WEDNESDAY 10th OF SEPTEMBER

6-8PM

2008-08-20T22:00:00.000-07:00

UGLY HERITAGE

Trevalyan Clay
Oliver Hextall
Claudine Kraan
Kate Smith
Andy Vervoorst

Curated by Helen Johnson

OPENS THIS FRIDAY
THE TWENTY SECOND
6-8PM

2008-08-18T19:30:00.000-07:00

2008-08-12T17:38:00.001-07:00

LE PICTURES FROM LE ART FAIR

2008-06-26T17:35:00.000-07:00

Anita Foard joint hassels studio dweller.
2007-08

2008-05-27T20:05:00.000-07:00

ATTENTION!

ROB MCKENZIE'S GARAGE SALE WILL BE CLOSING ON SATURDAY

IT WILL BE OPEN THURSDAY AND FRIDAY HOWEVER

2008-05-27T19:59:00.000-07:00

JESSICA LUCAS

"GENERAL MANAGER"

2008-05-27T19:54:00.000-07:00

ALEX VIVIAN - YE MEDEIVAL

2008-05-08T20:05:00.000-07:00

Sean Baileys 'Pagan Grind 2'

2008-04-13T19:14:00.000-07:00

NICK SELENITSCH

BUILDING UP A HEAD OF STEAM

2008-03-19T18:44:00.000-07:00

ATTENTION

JOINT HASSLES IS OPEN ONLY FOR THURSDAY AND SATURDAY OF THIS WEEK DUE TO GOOD O FRIDAY

DON'T GET CONFUSED NOW!!!

HAPPY EASTER

2008-03-06T19:01:00.000-08:00

2008-02-14T23:33:00.000-08:00

"ALL KILLER" SHOW, OCTOBER/NOVEMBER 2007.

IMAGES FROM THE ARCHIVES

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JESSICA LUCAS
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ENRIQUE TOCHEZ ANDERSON
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SIMON ZORIC
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MIKE TAIT
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KIAH GM
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ROB MCHAFFIE
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SEAN BAILEY
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KATE GILBERT
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JOEL CORNELL
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AL OUCHTOMSKY
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ROHAN BELL-TOWERS
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HARRIET MORGAN-HUDSON
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JESSICA MCELHINNEY
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KATHERINE HATTAM
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2008-02-12T16:44:00.000-08:00

2008-02-02T22:18:00.000-08:00

2007-11-07T16:46:00.000-08:00

WILLIAM MACKINNON

THE COVERS ALBUM - VOLUME ONE
WENESDAY THE 7TH OF NOVEMBER TIL THE 1OTH OF NOVEMBER

2007-10-14T18:27:00.000-07:00

CHRISTOPHER LG HILL AND JAMES DEUTSHER

SUB DEVIDE AND CONCRETE
FEATURING A Constructed World, Bianca Hester, Daniel DuBurn and Christopher L.G. Hill, Hao Guo, Hao Guo and James Deutsher, Kain Picken and Rob McKenzie, Nick Selenitsch, Saskia Schult and Christopher L.G. Hill.

2007-10-06T23:00:00.000-07:00

Here are some more pictures from Rohan Bell-Towers' and Kiah GM's "Night of Friction" show.

2007-10-05T00:17:00.000-07:00

SUB DEVIDE AND CONCRETE
JAMES DEUTSHER AND CHRISTOPHER LG HILL
WITH OTHERS FROM THE 21ST OF SEPTEMBER TO THE 13TH OF OCTOBER

2007-10-03T18:49:00.000-07:00

NIGHT OF FRICTION
ROHAN BELL-TOWERS + KIAH GM

*there are more images but finding it hard to upload them- stay tuned x

2007-09-10T06:27:00.000-07:00

FOR A SHORT TIME ONLY!

2007-09-10T06:24:00.000-07:00

KRISTINA TSOULIS-REAY

STRANGE LOOP

FRIDAY 24TH OF AUGUST - 15 SEPTEMBER

2007-07-12T19:50:00.000-07:00

NATHAN GRAY - THE FOLD

This is it folks,
The Fold- Nathan Gray.
From the 27th of July to the 17th of August,
Joint Hassles 2a Mitchell Street Northcote 3071
Opens Friday the 27th 6-8pm, then Thursday til Saturday 12 - 5pm.

performances include

Sat 28th July 2pm
halfman/halfmoffarah
electronic/vocal improvisation
duo with chris hill

Sat 4th August 2pm
snawklor
decade old musical collaboration with dylan martorell
electro acoustic/acoustic/field recordings/trumpets

Sat 11th August 2pm
the fold ensemble
previously roots rock family band food group
the name change signals a new sound
wah/guitar/vocals/synth/loops and recorders
trio with julie burleigh and blake sonic richardson-gray

nathan gray
www.undodesign.com
www.snawklor.blogspot.com
www.jointhassles.com

thanking you in advance for coming

2007-06-24T22:54:00.000-07:00

MATTHEW HOPKINS

Him (as her) and his attempts to become what my girlfriend (as me) wants me (as myself) to be/
THE DEMONIC INNER VERSION.

29th of June - 22nd of July

"Hammerhead #1/ self portrait of me (as myself) as my 'funny' uncle". Still from single cannel video with sound, 2007.

"The Reach of Mind/self portrait as 'the force'. Still from flash animation with sound, 2005-2007.

2007-05-20T04:53:00.000-07:00

JARRAD KENNEDY- AUSTRALIAN FOLK IMPLOSION

'Profilez/Detailz' (2005-2007) found cardboard, glue. Dimensions variable

'The Rise Of Dean' (2007) paper + pen. 15cm x 20cm

'Strummerville' (2007) paper + pen. 15cm x 20cm

2007-05-17T05:34:00.000-07:00

ASSORTMENT OF IMAGES FROM GOING UNDER

2007-05-17T05:31:00.000-07:00

2007-05-17T05:25:00.000-07:00

2007-05-17T04:56:00.000-07:00

2007-05-16T04:49:00.001-07:00

GOING UNDER - A GROUP SHOW
ALSO INCLUDING

CHRISTOPHER LG HILL
JAMES DEUTSHER
CHRIS SMITH
SIMON ZORIC
CRAIG DERMODY
ROHAN BELL-TOWERS
WILLIAM MACKINNON

2007-05-16T04:39:00.000-07:00

2007-03-01T15:59:00.000-08:00

NEON PARC
In association with
GAMBIA CASTLE Auckland
JOINT HASSLES Northcote

is proud to present

I DIG YOUR VOODOO

Dan Arps
Nick Austin
Jennifer Bartholomew
Simon Denny
Christopher Hanrahan
Anne Marie May
Tahi Moore
Kate Newby
Kate Smith
Bryan Spier

OPENING 9th March 6-8 PM
Exhibition 9 - 31st March 2007

JOINT HASSLES
2A MITCHELL ST NORTHCOTE
THURS - SAT 12 - 5PM
JOINTHASSLES.BLOGSPOT.COM

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1/53 Bourke St Melbourne
Australia 3000
wed-sat 12-6pm
+ 61 3 9663 0911
neonparc.com.au

2007-01-28T17:00:00.000-08:00

2007-01-25T06:21:00.001-08:00

HELLO

FUNDRAISER IS ON THE THIRD OF FEB
YURH (PS I AM TYPING IN THE DARK SERIOUSLY
AT THE BARKLEY ST WAREHAUS

8PM
BANDS BEING
LAKES
DEAF DEAF
SLY HATS
SPIDER VOMIT
RED KNIGHT NIGHT
THE SAB DANCETROUPE

YURH

FIVE DOLLARS

RAISE DA FUNDZ BRO

2007-01-14T04:45:00.000-08:00

for those of you who missed the buzz, we held an emergency show for limp wrist today 'cause the house show fell through and it was AMAZING!!! thanks to limp wrist and straight jacket nation, who also ruled.

Joint hassles will re open for 2007 with Helen Johnsons show which opens on Friday 9th of Feburary 6-8.
yeeeeaaahh

2006-12-28T15:12:00.000-08:00

hey gang. joint hassles's new opening hours are from thursday til saturday, 12-5pm. wednesday was a bit much really. also, we are shutting on the 30th of december aka saturday for a little while. so see sean's show while you can! BUT. we will be having some sort of fundraiser soon. a show or something. and then a group show at the gallery. and helen johnson's show also will be the first babe of a show for next year. more will be posted here.

thankyou to everyone for being so supportive so far. it is cooooool. hope to see you in the new year, god i sound like such a dick.

xxxxxxxxxxxxxxxxxxxx

BYE

2006-12-22T02:49:00.000-08:00

Sean Bailey

2006-12-11T00:16:00.000-08:00

2006-12-11T00:15:00.000-08:00

2006-11-20T22:25:00.000-08:00

what the?

http://melbourne.indymedia.org/index.php

2006-11-13T14:25:00.001-08:00

ssssslaaam dunk

2006-11-13T14:22:00.000-08:00

SLAVE

2006-10-30T17:44:00.000-08:00

2006-10-23T23:12:00.000-07:00

Always

2006-10-22T22:34:00.000-07:00

>>>demolishin<<<

2006-10-22T20:25:00.000-07:00

2006-10-18T06:22:00.000-07:00

//\\ SLAVE //\\

2006-10-18T05:39:00.000-07:00

Andie Tham

Bianca Hester

James Deutsher

Helen Johnson

Josh Petherick

Christopher LG Hill

Kain Picken and Rob McKenzie

Sean Bailey

Jess Lucas

-- JOINT HASSSLES--

Some hassles from the new joint