Category Archives: General Gallery Information

New Website


Tin Sheds Gallery 2013 Website

Tin Sheds Gallery has a website for our 2013 exhibition program designed by the Sydney design team Spring in Alaska:

This will also be the new home for the archive of the 2011 exhibition The Right to the City.

Please check it out!

You can join our mailing list via the “subscribe” page and check out exhibition opportunities and interesting events on the “events” page plus find out more about our exhibitions and other programs. Come back to see new information added regularly.




Jorge Otero Pailos (US)
Tina Havelock Stevens (AU)
Elvis Richardson (AU)
Daniela Ortiz and Xose Quiroga(ES)
Curated by Zanny Begg and Jennifer Ferng

15th March – 31st May, 2013

Opening Thursday March 14th, 6-8pm

Guest Speaker: Professor Craig Bremner (Professor of Design at Charles Sturt University)

“Do not let us talk then of restoration. The thing is a lie from beginning to end.” John Ruskin, “The Lamp of Memory”, The Seven Lamps of Architecture (1849).

On March 14 a new exhibition Dirt, Dust and Ruins opens at Tin Sheds Gallery. The exhibition brings together an exciting combination of artists whose work engages with the dirt, dust and ruins of contemporary cities.

Jorge Otero Pailos


The Ethics of Dust: Doge’s Palace, Venice, 2009

Jorge Otero-Pailos’ installation The Ethics of Dust: Carthago Nova, 2011 provides a contextual starting point for the series of works in Dirt, Dust and Ruins. He presents nine latex casts of dust from a mine in the ancient Roman silver mining region of Carthago Nova, now Spain. This region was significant for producing the wealth and currency that drove an empire and also created some of the first atmospheric pollution that has been detected in core samples from Greenland.

Otero-Pailos’ work invites us to reflect on the role that pollution plays in the functioning of empires, as well as in their legacy, for pollution can be as long lasting as the grandest cities and monuments. While Otero-Pailos cleans away residues of pollution, he also preserves it, treating it as part of the history of the buildings. Influential in Otero-Pailos work is John Ruskin, for whom dust formed “time-stains” that provided an essential way of understanding the historical value of the buildings that make up the city.

Daniela Ortiz & Xosé Quiroga


1st of May Mining Camp, Private Property of VOLCON Mining Company Ceru de Pasco, Peru, 2011

1st of May Camp is a photographic documentation of an intervention carried out in a mining town built for workers in the Volcán operated mine at Cerro de Pasco. Cerro de Pasco exists along the edge of an open cut mine that has been continuously operating for over 445 years. The “time-stains” here are so toxic it has been suggested that the entire town be re-located 35kms down the road to spare the residents a life fractured by explosions and pollution.

Ortiz and Quiroga counter pose the architecture of the miners’ houses with that of the mining companies executives, in a series of oversized paste-ups on the side of the workers homes. The surreal counter perspectives they create open up alternative possibilities for understanding the geography of the town. While the camp is hardly a city, Ortiz and Quiroga’s images create a direct link between these outposts and the living conditions of the wealthy inhabitants of major cities.

Elvis Richardson


National Housing Search <$250K, digital slide show, 2012

Elvis Richardson’s latest project National Housing Search <250K is a photographic research project that considers how contemporary housing anxiety in Australia effects Australian artists and other low income earners.  Cities are where artists congregate creating social capital and scaffolding ideas of “lifestyle”. The work acts as a means to survey concepts of lifestyle through the pictorial genre of interiors and its portrait of domesticity and the everyday.  In the under $250,000 price bracket photographs of property for sale depict a modest reality rich with evidence of individual lives.  Poetic beauty is trapped in the photographic compositions of a floral carpeted room empty but for a chair sitting in the corner glinting in a shaft of light or a bedroom adorned with soft toys, or a collection of family portraits oddly scattered on a wall. Ill considered photographs of corners, dark rooms, left behind furniture, are an unintentional forensic snapshot. Looking at these lived in scenarios is like walking in someone else’s shoes.

Tina Havelock Stevens


Drum Detritus Detroit, 2013

Tina Havelock Stevens offers a very different ways of looking at “time-stains.”  Detroit is a city whose fortunes have shifted markedly overtime, once an architectural gem of the automobile industry today the city is half derelict, populated by scrappers and a new class of urban hipsters looking for affordable places to pursue their lifestyle. The collapse of cities, such as Detroit, offers a warning on the transient nature of urban landscapes. “White Drummer Detroit” is an observational portrait of this urban decay. Tina Havelock Stevens creates a traveling performance at the punishing pace of eleven locations in Detroit in a day: from abandoned motor factory floors to burned out storefronts, buildings engulfed by nature’s overgrowth, a grassy field in the shadow of a smelt, to the very steps of historic Motown Records. The energy of these performances belies the potent history layered within such a ruinous urban landscape.

Curated by Zanny Begg and Jennifer Ferng

For more information on the exhibiting artists – please click on links below

Elvis Richardson / Tina Havelock Stevens / Jorge Otero-Pailos / Daniela Ortiz Xosé Quiroga

Dirt, Dust and Ruins is the part of Emergen/city a series of four interlinking exhibitions that explore various ways in which we can approach life in the city. The overarching title invites a variety of readings – it can be read as a reference to emergence theory and the manner in which individual interactions contribute to an understanding of complex systems, or, as a reference to how urban environments emerge, shaped and continually reshaped by it inhabitants. Spoken phonetically the title also evokes the ecological emergency that confronts life in our cities. The project will involve a range of curated exhibitions, symposiums, publications, lectures and performances that explore the problematic of life in contemporary cities:

TWO DOLLAR PAREIDOLIA – Emily Hunt, Vicki Papageorgopoulos, Matthew Hopkins



Tin Sheds Gallery, Sydney University

Opening Thursday 14th of February – 4th March 2013


Pareidolia – noun.


The imagined perception of a pattern or meaning where it does not actually exist, as in considering the moon to have human features.


In this exhibition Sydney based artists Emily Hunt, Vicki Papageorgopoulos, and Matthew P. Hopkins present a collaborative installation where the phenomenon of pareidolia is explored through a range of lowly, absurdist, mesmerising forms. Working with painting, kinetic sculpture, photography, video and sound, the trio present a world where significant meaning and arcane knowledge is forcefully injected into a host of $2 shop trinkets, bad body puppetry, and a range of found/fine interspecific hybrids.


As a psychological phenomenon, pareidolia transfers randomness into something we want to see, and largely associated with divine and religious imagery, pareidolia is often a result of what we want to believe. This human desire to read something meaningful into inanimate objects is challenged by the artists through a caricatural, comically grotesque compulsion to put a face on everything. This manic rendering of low grade materials into hoards of misfits and cretins, transforms the seemingly celestial nature of pareidolia into a more of a deranged limbo. In this ugly transitional state anything and everything can be invested with personality through simple and crude means, and this approach aims to question the power of objects and the illusion of contemporary art practice through a fantastic, debased uncertainty.


Two Dollar Pareidolia is the recipient of the 2013 Tin Sheds Innovate/Curate Grant.



Matthew Hopkins

Born in 1978, Hopkins lives and works in Sydney and has been exhibiting locally and internationally since 2003. In 2008 he was a finalist in the Helen Lempriere Travelling Artist Scholarship and had a studio residence at Artspace. The exhibition Bated Breath in Nov/Dec 2012 will mark Hopkins’ fourth solo show at Gallery 9.

Concurrent to his visual art practice, Hopkins is active amongst a number of music and sound projects, releasing music and performing throughout Australia, North America and Europe since 2005. In 2011 he performed at the New Museum, New York, as part of the ‘Get Weird’ monthly sound series with the group NOTV. This event was held in conjunction with the exhibition George Condo: Mental States. Matthew Hopkins is represented by Gallery9, Sydney

Emily Hunt

Hunt completed her Master of Fine Arts (Print Media) at Sydney College of the Arts, the University of Sydney in 2011. Also in 2011 she undertook an Erasmus Exchange Scholarship and studied ceramics at Sint-Lucas Beeldende Kunst in Ghent, Belgium. Solo exhibitions include The Meister of New Holland, Ratskeller Litchenberg, Berlin (2009) and One Hundred Years War at Firstdraft Gallery, Sydney (2007). Group exhibitions include Feminage – the logic of feminist collage curated by Jo Holder at Cross Art Projects, Sydney (2012), Underseeboot at the Phillip Geist Project Space, Berlin (2009), OBLIVION PAVILION curated by Amanda Rowell at Gertrude Contemporary Art Spaces Melbourne and Roslyn Oxley9 Gallery, Sydney (2008). Between 2006 and 2009, Hunt produced a collaborative satirical journal with fellow artist, Raquel Welch (Caballero) called DUKE Magazine. Emily Hunt is represented by The Commercial Gallery, Sydney

Vicki Papageorgopoulos


Papageorgopoulos completed her Bachelor of Visual Arts at Sydney College of the Arts with Honours in 2001. She was then the gallery director of Wren gallery from 2001-2005. She was a Studio Residency Recipien at Fraser Street Studios in 2011. Recent groups shows include, HOT MOCK with Emma Ramsay, Gallery 55 Sydenham Rd, 2012, THE STICKERS with Jonothan Bailey-First Draft,Sydney, 2007 and Women in Piracy at Kudos Gallery, 


The Third Landscape

The Third Landscape

Opens October 18th

Izabela Pluta ,House (on the frontier), 2012

Image courtesy of the artist and Galerie Pompom Sydney, and Dianne Tanzer Gallery + Projects Melbourne.

Exhibition runs October 18th to November 17th
Tin Sheds Gallery
Faculty of Architecture, Design and Planning
The University of Sydney

The Third Landscape – an undetermined fragment of the Planetary Garden – designates the sum of the space left over by man to landscape evolution – to nature alone, Gilles Clément

The Third Landscape exhibition and public program explores new understandings of industrial heritage and ruin.The exhibition examines the transformative possibilities for regenerating seemingly negative landscapes of the forgotten and the blighted.

Taking French gardener Gilles Clément’s term for nature’s reclamation of wasteland as its title, it presents artists, architects and designers whose work addresses the adaptability of interstitial spaces. These works demonstrate not only how spontaneous biodiversity can occur in these spaces, but diverse social and cultural activities too. While some participants take immediate and hands-on action in reworking the spatial program, others offer analternative vision of landscapes already in the process of modification. Here – in the cycles of decay and dystopia – new potentialities are found.

This utopian non-place is apparent in the haunting photo-media work of Izabela Pluta and the suspended installations of Peter Nelson. The alchemy of Sydney’s industrial past is the focus of Helen Armstrong’s media homage, while Sydney’s current harbourside construction boom is critiqued in Richard Goodwin’s powerful performance piece.

New Zealand collective Gap Filler present an archive of their optimistic interventions amongst the ruins of Christchurch, and German architects raumlabor create a new future vision in the Tin Sheds Gallery window.
A public program will accompany the exhibition and encourage participatory discussion around heritage, urban planning and sustainability. It will involve the public in thinking about urban design and the future of our cities. A forum will focus on the changing face of Sydney’s watery edges, from the warehouses and industrial spaces of the working harbour to new urban planning developments. A series of walks will enable the audience to experience the unique qualities of these sites from new angles, lead by members of the community and offering alternative histories and futures.

The Third Landscape is curated by Joni Taylor and includes Raumlabor (Germany), Gap Filler (New Zealand), Richard Goodwin, Helen Armstrong, Izabela Pluta, Peter Nelson, Design 5, Kate Clark, Tom Rivard, Blair French and Lena Obergfell.

The Third Landscape FORUM: 
October 27, 2pm-6pm

A forum will focus on the changing face of Sydney’s watery edges, from the warehouses and industrial spaces of the working harbour to new urban planning developments.

Speakers include Kate Clark (Historic Houses Trust), Blair French (Artspace), Richard Goodwin (artist/architect), Helen Armstrong (landscape architect), Tom Rivard (Lean Productions), Robert Gasparini (Design 5), Alex Ritchie (E-2), Peter Nelson (artist), Lena Obergfell (artist – Wasteland Twinning) and Joni Taylor (curator).

Free but bookings essential!

Please book by emailing Jack Jeweller

Gallery closed today and tomorrow

We apologise that Tin Sheds Gallery will be closed to the public today and tomorrow due to the launch of the Indoor Environmental Quality Lab in the Faculty of Architecture, Design and Planning. We open again as usual on Tuesday September 4th for the last week of Digital Interdiciplinations and Still Life Moving Fragments.

Crisis Complex – Winner of 2012 Innovate/Curate Grant

Crisis Complex draws on a global network of artists to address our
collective anxieties in an era marked by ecotastraphes, geopolitical
antagonism, civic unrest, social fragmentation, and fiscal malaise.
Entering the twenty-teens, humans negotiating uncertain futures during
a period of spiritual scepticism and political mistrust are
nevertheless engaged in a rhetoric of hope. In examining this
contradiction Crisis Complex showcases a confusion of ethics and
determinism from artists whose practices flourish in the wake of

The exhibition of works on paper, performance, installation, moving
image, and social exchange courts critical positions that range from a
climate of incapacity to the politics of possibility.

Crisis Complex is curated by Laura McLean and Sumugan Sivanesan.
Participating artists include:
Heidi Axelsen & Hugo Moline, Ella Barclay, Carla Cescon, Edgar Cobián
(Mexico), Tony Garifalakis, Francesca Heinz, Lise Hovesen & Javier
Rodriguez (UK), Adam Norton, Joaquin Segura (Mexico), Takayuki
Yamamoto (Japan) and theweathergroup_U.

Crisis Complex is the recipient of the 2012 Tin Sheds Innovate/Curate Grant.
It also supported by the NSW Artists’ Grant and the Australian
Artists’ Grant, NAVA initiatives made possible through the support of
Arts NSW and the Visual Arts and Craft Strategy, an initiative of the
Australian, State and Territory Governments.
Crisis Complex is an Associated Event of Art & About Sydney 2012,
produced by City of Sydney.

Two Exhibitions: Digital Interdisciplinations – Prototypes, Prosthetics and Parasites and Still Life – Moving Fragments

Two exhibitions opening at Tin Sheds Gallery

Digital Interdisciplination – Prototypes, Prosthetics, Parasites and Still Life | Moving Fragments



Exhibitions open August 9th 6-8pm

Both exhibitions run from August 10 to September 8

Tin Sheds Gallery

Faculty of Architecture, Design and Planning

Sydney University


Digital Interdisciplination – Prototypes, Prosthetics, Parasites recognizes a transition that has occurred from our initial collective amazement with digital technology towards a more nuanced fascination with the potential for new relationships it generates. The exhibition focuses on the delicacies of these relationships – are these symbiotic, prosthetic or parasitic? What happens in a digitally enhanced responsive environment, when mutual dependencies develop on a temporal individual basis? What happens when, as Myron Kruger suggests, the interactive part becomes as much a material for designing as matter itself?

This exhibition is informed by these human concerns. Its approach to the digital (animation, advanced geometries, fabrication and interaction) springs from more messy cultural and intersocial concerns, embedding desire, memory, hunt, loss, curiosity, imagination, identity and recognition, within the works and making these emotional qualities the drivers of exhibition projects that become prototypes of interactions and interdisciplinations.

The exhibition has been curated by a team from the Faculty of Architecture, Design and Planning at the University of Sydney; Dagmar Reinhardt, Martin Tomitsch and Marjo Niemela. Participating artists and designers include Dagmar Reinhardt, Martin Tomitsch, Marjo Niemelä, Lisa Fathalla, Melinda Wimborne, Gabriele Ulacco, Hank Haeusler, Alexander Jung, Eduardo Barata and Dirk Anderson, Rob Beson, Steven Janssen, Lian Loke, Oliver Bown and Elmar Trefz.

Still Life | Moving Fragments explores the tension between stillness and movement, using the quiet intensity of the still life painter’s gaze and the fleeting, unstable properties of the moving image. At first glance, these works present domestic scenes that are nondescript, tediously familiar. This draws upon French writer Georges Perec’s idea of the infra-ordinary – ‘the banal, the quotidian, the obvious, the common, the ordinary, the infra-ordinary’ – in domestic spaces. The works aim to bring attention to the enigmatic power of these spaces.

Louise Curham and Jo Law work extensively with moving images within the context of the screen, installation, and performance. Their works have been shown widely in Australia as well as internationally. This exhibtion brings the works of these two artists together for the first time.

For more information about either of these exhibition please contact Tin Sheds Gallery on 93513115 or via email:,, or

Spatial Displacements: The Space in Between

The exhibition by Sibylle Hofter, Heidi Kårtveit and Magnhild Nordahl examines spatiality in the built environment with installed works that possess elements of both architecture and sculpture in ‘the space in between’. By analysing the space in between sculpture and architecture, new ways of working are discovered and identifying non-objective abstraction establishes a theoretical
framework for using abstracted fragments.
The abstract spaces that the installed works occupy are made by artists whose work act as moderators between the architecture, which is permanent and prior, and the beholder who is transitory and contingent. All three artists acknowledge
abstract qualities in dealing with space by merging architectural and sculptural elements; where they intervene through metaphoric gaps, virtualities not easily categorised as one or the other.
The selection of the artists is based on each individual’s method of making work that is specific to sites within built environments. Sibylle Hofter removes conceptual and physical ‘coverings’ by challenging notions of form and space that transpose interiors by highlighting negative and positive and blurring lines between art and reality. Her work also explores film, text, installation and the spatiality of interior and exterior with photographs and objects. Heidi Kårtveit reconstructs interior spaces to examine human relationships and social interactions in the built environment. She incorporates kinaesthetics and sound so there is a shift in the value of experiencing the work. Magnhild Nordahl’s use of space is analogous to space as metaphor, with a spatiality requiring movement and duration. Her recent work transposes architectural facades on buildings and structural features in large constructions and highlights them as discrete artworks.
All three artists deconstruct, subvert and transform the built environment in a manner similar to Gordon Matta-Clark’s subverting of architecture. Their works share Matta-Clark’s ‘un-building’ of architecture by highlighting a spatiality that affects viewer experiences and perceptions. By interrogating differences and juxtaposing each artist’s work, the experience of the built environment is extended and spatial awareness is heightened – space, conceptual and physical is altered to challenge perceived knowledge.
The bringing together of three exceptional practitioners is significant in that it showcases innovative and exciting new works by two emerging Norwegian artists, and an established German artist for the first time in Australia.
Dr William Seeto is an artist and independent curator with a creative practice of over thirty years. He recently completed a Doctorate in Visual Arts at Sydney College of the Arts – University of Sydney. His dissertation analysed specific, new ways of working with non-objective abstraction in light phenomena, denoted imagery and the space in between architecture and sculpture.
In so doing, he interrogates the way artworks heighten or displace perceptual experience on both a haptic and kinaesthetic level.

Human Remains: Museum Object or Crime Scene?


Tomorrow: June 14th 6.30pm, Tin Sheds Gallery will host a discussion on the issues surrounding the repatriation of human remains from museum collections. Feature speakers will be Daniel Boyd, artist in The Transit of Venus and Matt Poll, Sydney University Repatriation Project and Indigenous curator Macleay Museum. For more information please contact Tin Sheds Gallery on 93513115 or 9351 8570.

The Transit of Venus – An exhibition with Daniel Boyd opens tomorrow 6pm

Join us for the opening of The Transit of Venus – An exhibition with Daniel Boyd tomorrow, Thursday 24th May 6pm – 8pm.

The Transit of Venus – An exhibition with Daniel Boyd presents an opportunity to revisit the consequences of Captain Cook’s voyage on the Endeavor assessing its ramifications, not just for the Aboriginal people of Australia, but also more broadly for our understanding of the connections between science, art, astronomy and geography.

Exhibition continues until 23rd June 2012