Selected Works

AXIS Art Projects – Art Xtremists International Syndicate, Artist-Run Wunderkammer, BNE-NYC 1988-2016 #2

Paul WilliamAndrew AXIS Art Projects – Art Xtremists International Syndicate, Artist-Run Wunderkammer, BNE-NYC 1988-2016 #2 1988- 2016 Wall-based installation including digital photographs, sound art, video art, ephemera, text and community noticeboard/archives (located at http:://remix.org.au) Dimensions Variable. Approx. 2 x 2 m N.F.S
Artist Paul William Andrew,  AXIS Art Projects Wunderkammer – Art Xtremists International Syndicate, Does New York Exist?, Artist-Run Wunderkammer, BNE-NYC 1988-2016 #2,  1988- 2016 Wall-based installation including digital photographs, sound art, video art, ephemera, text and community noticeboard/archives, remix.org.au PHOTO: Ben Wyeth

 

AXIS Wunderkammer, Does New York Exist?, BNE-NYC 1988-2016 #2 (detail) PHOTO: Ben Wyeth
AXIS Wunderkammer, Does New York Exist?, BNE-NYC 1988-2016 #2 (detail) PHOTO: Ben Wyeth

Wall-based installation including digital photographs, sound art, video art, ephemera, text and community noticeboard/archives and also located at:

 

http://remix.org.au

 

 

Project:

The Re-authoring Impulse

Epicormia Collective

NRCG Ballina 23 November – 18 December 2016

http://epicormiacollective.com

 

PHOTOS: Ben Wyeth

http://www.benwyeth.com.au

 

Strange Monologues (Non-Finito Remix)

Artist Paul William Andrew,Strange Monologues (Non-Finito Remix), including works from The Hopewood Peace and Non-Violence Project 1916-2016
Artist Paul William Andrew, Strange Monologues (Non-Finito Remix), including works from The Hopewood Peace and Non-Violence Project 1916-2016 (detail), Found Photographs, Digital Prints, Glitter, Glass, Dust, Wax Candles, Digital Video (Strange Vignettes 1916-2016) Editi0n #1/6 PHOTO: Ben Wyeth

 

 

Wall-based installation, altered archives

 

Strange Vignettes 1916-2016

Video Art
The artist gratefully acknowledges the Free Music Archive, suRRism-Phonoethics (Label) and the experimental composition Darkslider – ‘TimeFlux’ by Mark Sheddan for this installation.
http://freemusicarchive.org/label/suRRism-Phonoethics
http://freemusicarchive.org/music/Darkslider/TimeFlux/Darkslider_TimeFlux_01_Time

 

You too can help support FMA here:
https://freemusicarchive.org/donate

 

Project:

The Re-authoring Impulse

Epicormia Collective

NRCG Ballina 23 November – 18 December 2016

http://epicormiacollective.com

 

 

PHOTO CREDIT: Ben Wyeth – http://www.benwyeth.com.au

 

 

Performing the Archive: AXIS Art Projects Wunderkammer, Does New York Exist? BNE-NYC 1988-2016 #1, 12 Helen Street, Teneriffe, BARI Festival 2016

BARI FESTIVAL 2016
AXIS Art Projects Wunderkammer, Does New York Exist? BNE-NYC 1988-2016 #1, 12 Helen Street, Teneriffe, BARI Festival 2016 Artist Paul Andrew PHOTO: Paul Andrew

 

IMG_20161021_194628

Performing the Archive: On a Paper Stage Twisting Inbetween; Photocopied AXIS Art Projects Interview transcript with Marcia Tucker, Director New Museum, 1988, Digital Photo Media, Ephemera, Video Art, Performance Participation PHOTO: Paul Andrew

 

Performing the Archive

AXIS Art Projects Wunderkammer, Does New York Exist? BNE-NYC 1988-2016 #1, 12 Helen Street, Teneriffe, BARI Festival 2016 Artist Paul Andrew

And featuring the work of artist Gus Eagleton and the work titled: Reflections, 2016, 12 Helen Street Warehouse, Teneriffe, Brisbane

Read more about Gus Eagleton:

http://remix.org.au/interview-with-artist-gus-eagleton-art-aerosol-now

 

BARI Festival 2016

Catalogue Excerpt:

DOES NEW YORK EXIST?
Living Archives Wunderkammer #1,
1988-2016, AXIS Art Projects

PRESENTED BY:
ARI Remix

ARTIST:
Paul Andrew

OPEN:
20st – 22nd
6:00pm (opening night) 21st October
Gallery open Friday – Saturday
11:00am to 2:00pm

ADDRESS:
14 Helen St, Teneriffe, Brisbane.
FACEBOOK.COM/
ARIREMIXPROJECT
Together Brisbane artist-run agents Jay Younger, Lehan Ramsay and Paul
Andrew formed the documentary-style collaboration AXIS Art Projects in the
winter of 1987. It was an evening of combined merriment and vehement
spleen venting discontent about being “emerging” artists living and working
in Joh Bjelke’s Brisbane, induced, for the greater measure, by a shared
round of rebel rousing “Altered Manhattans” on the fairy lit verandahs of a
ramshackle Queenslander somewhere in dark Milton.

AXIS (Art X-tremists International Syndicate), was directly motivated by the
guerrilla impulse evident in the art scene throughout the 1980s, our project
was intervention collaboration designed as antidote to many of the
mainstream and outdated assertions and “grand narratives” prevailing at
the time…:

Does New York Exist? was imagined more as a provocation than simply an
artist collective project title.

 

http://remix.org.au/does-new-york-exist

The Patient: The Medical Subject In Contemporary Art

The Man In the Irony Mask, by artist Paul Andrew 1998 Featuring Performance Artist and HIV AIDs activist Brenton Heath-Kerr
The Man In the Irony Mask, by artist Paul Andrew 1998 – Featuring Performance Artist and HIV AIDs activist Brenton Heath-Kerr PHOTO: Silversalt Photography

The Patient examines the embodied experience of the artist as medical patient and the medical patient as living subject in contemporary art.

The word patient has a dual meaning. It describes a state of being – of bearing a situation quietly, without complaint. It also describes a person in a hospital or clinical context, who is ill and undergoing diagnosis or treatment. The word originates from the Latin patiens, which means “suffering, enduring”. And for the medical patient, it is a common enough experience to wait, with pain.

The exhibition explores the ways in which artists engage with powerful human experiences in the fields of health, biological science and medicine, contributing to discourse on the representation of illness, disease, care, individual agency and what it is to be human.

Curated by guest curator and UNSW Art & Design PhD candidate Bec Dean, the collection of works, new experiments and ongoing projects featured in The Patient are all variously difficult, fearless, funny and sometimes unlovely. They range across media and connect to us as viewers and occasionally as participants.

The artists in this exhibition are drawn from Australia and the world, past and present. Their work deepens our own enquiries into the actual stuff of illness and disease, death and life – how they manifest viscerally and psychologically, as well as socially and politically.

 

OPENING
THURS 2 JUNE, 6-8PM
WHEN 3 JUN – 6 AUG 2016
WHERE
UNSW GALLERIES
ADDRESS
CNR OXFORD ST & GREENS RD PADDINGTON NSW 2021

Ephemeral Traces : Brisbane’s Artist-Run Scene in the 1980s

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ARI Remix News, AXIS Art Projects Postcard (detail), 1988-2016

 

2 April 2016 – 26 June 2016

ephemeral traces provides the first comprehensive analysis of artist-run practice in Brisbane during the final decade of the conservative Joh Bjelke-Petersen government. The exhibition focuses on the scene that developed around five key spaces that operated in Brisbane from 1982 to 1988: One Flat, A Room, That Space, The Observatory, and John Mills National.

Drawing on artworks, documentation and ephemera, the exhibition provides a contextual account of this progressive artist-run activity, examining collective projects, publications and the spaces themselves, as well as organisations such as the Artworkers Union and Queensland Artworkers Alliance. A counterpoint to Michele Helmrich’s earlier exhibition Return to sender (UQ Art Museum, 2012), which focused on the artists who left Queensland during the Bjelke-Petersen era, this exhibition is about the artists who stayed.

Curator: Peter Anderson

 

https://www.artmuseum.uq.edu.au/ephemeral-traces-brisbanes-artist-run-scene-1980s

Axis Art Projects – Art Xtremists International Syndicate (1987-2017)

reagan simulacra small lower east side axis

Flame Tree (1997-2015)

The Man in the Irony Mask (1998)