Eugenia Lim is an Australian artist who works across video, performance and installation. Interested in how nationalism and stereotypes are formed, Lim invents personas to explore the tensions of an individual within society – the alienation and belonging in a globalised world.

Conflations between authenticity, mimicry, natural, man-made, historical and anachronistic are important to the work. To this end, Lim finds inspiration in sites and objects that are both ‘contemporary’ and ‘out of time’, embodied and virtual. Model homes, suburban sprawl, CCTV, online chat rooms, fake food, historical parks and the Australian landscape have all featured in the work. Counterpoint to these sites, Lim has performed the identities of Japanese hikikomori; a Bowie-eyed rock star; the cannibal Issei Sagawa; a suburban beautician; Miranda from Picnic at Hanging Rock and currently, a gold Mao-suited ‘Ambassador’. This dialogue between place and performance reflects the push-pull between Australian and Asian, the mono and the multicultural.

Lim’s work has been exhibited, performed and screened locally and internationally at venues, festivals and fairs that include: Tate Modern, GOMA, ACMI, HUN Gallery NY, Next Wave, FACT Liverpool, 24HR Art (Darwin), Substation (Singapore), Schoolhouse Studios, Experimenta, Sydney Contemporary, Melbourne Festival, ACAF (Shanghai), TINA, Dark MOFO, Bus Projects, West Space and MPavilion.

She has received a number of Australia Council for the Arts grants and residencies, including a residency at the Experimental Television Centre NY and exchange at the Rhode Island School of Design (RISD). In 2016, Lim undertook a residency at Bundanon Trust; at the studio of Shen Shaomin as a 4A Beijing Studio resident; and was artist-in-residence with the Robin Boyd Foundation. In 2018-20, Lim is an Artist-in-Residence with Gertrude Contemporary.

Current projects include The Australian Ugliness, a video work exploring contemporary Australian identity and culture through its architecture and built environment; and The People’s Currency, a performance-cum-factory that explores the human impact of globalisation in the era of Foxconn. Her work is held in a number of private and public collections.

Collaboration, artistic community and the intersection between art and society informs her practice: in addition to her solo work, she co-directed the inaugural Channels: the Australian Video Art Festival, is a board member at Next Wave, the founding editor of Assemble Papers and co-founded Tape Projects.

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HIVE LAB #4, Adelaide Film Festival

posted on: 8 Oct 2017


Eugenia is in Adelaide for HIVE LAB #4, a meeting of filmmakers and artists for a residential workshop to nurture screen-based creative ideas that cut across artistic boundaries. Initiated by the Adelaide Film Festival, the HIVE LAB partners include ABC TV Arts, Screen Australia, the Australia Council for the Arts and South Australian Film Corporation. This year’s lead convenors are Chris Drummond and Samantha Lang, with mentors Neil Armfeild, Linda Brusasco, Bridget Ikin, Judith Lucy, Nerida Moore, Annabelle Sheehan and Tusi Tamasese. Participants: Zanny Begg, Richard Bell, Kate Blackmore, Erin Fowler, Andrée Greenwell, John Harvey, Sue Healey, Audrey Lam, Eugenia Lim, Steven Oliver and Matt Vesely.


Our Selves at CTRL+SHIFT, Oakland, CA

posted on: 27 Sept 2017


Curated by Frances Fleetwood

5 October – 4 November 2017
Opening: Thursday, 5 October, 6–9pm
Gallery hours: Saturdays 12–5pm and by appointment

Roles are performed, performances are documented, images are proliferated and disseminated on the internet, identities are fragmented, self and culture is constructed, deconstructed, reconstructed, curated, fabricated.

our selves presents video works by eight young Australian women exploring cultural performativity within new media technologies, investigating how we navigate our fractured identities in a time of both increased virtuality and heightened vulnerability of bodies and environments.

The artists engage with multiple, intersecting identities and speak from various positions such as queer or female, and non-European Australian perspectives. The works included are somehow both personal and universal, speaking to themes of dislocation, digital loneliness and homesickness, while also engaging with postcolonial narratives and gender identity from the perspective of the internet generation. What is the human body’s relationship with the network? How do we situate ourselves when computer generated imagery can place us anywhere in the real or virtual world?

Featuring Corinna Berndt, Xanthe Dobbie, Caroline Garcia, Nikki Lam, Eugenia Lim, Zoe Scoglio, Jacqui Shelton, and Talia Smith.

Image: Eugenia Lim, Windows (production still), 2016, HD Video, 2:55min


True Estate at Open House

posted on: 26 July 2017


Opening 1 August, 6-8pm
Exhibition runs 1 August to 4 September
True Estate gallery
The Alderman (upstairs)
134 Lygon St East Brunswick

Exploring the social, economic and physical experience of living and housing for artists.

Eugenia is included in Open House, an exhibition that will present a collection of artists objects and artworks and display them within a framework of reconstructed furniture and DIY building materials. The concept of Open House is to amass a collection of creative responses to housing specifically from artists so as to explore the emotional, economic, social and physical circumstances of living as an artist, historically and today.

True Estate is an eclectic new gallery project by Melbourne based artists Beau Emmett and Elvis Richardson located upstairs at The Alderman, a bespoke deco bar @ 134 Lygon Street, East Brunswick. True Estate will present a program of curated exhibitions that engage with the accumulative and collective state of things today. True Estate is interested in situating contemporary art practices in dialogue with the built environment and the domestic scale, international style, free markets and personal taste, artists collecting practices, true crime, urban myths and the realities of the artists lifestyle in Australia today.




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