email

obinfo@obfuchai.com

This website & contents ©1987-2009 Olivier Burckhardt

The calligraphy on the banner, adapted from a Chinese ink rubbing,
is by Mi Fu (1051-1107), one of the great Song dynasty masters.
The two characters read fu floating & chai (zhai in pin-yin) which means studio or retreat.

The calligraphy on the banner, adapted from a Chinese ink rubbing, is by Mi Fu (1051-1107), one of the great Song dynasty masters. The two characters read fu floating & chai which means studio or retreat.
Hence: Floating Studio.

 

 
 Calligraphy Composition No. 12. © 2007 Olivier Burckhardt

Throughout the 1980s Olivier Burckhardt dedicated himself almost exclusively to the visual arts (mixed media & photography), and throughout that decade held numerous exhibitions. In the 90’s he shifted his focus to writing, all the while pursuing his interest in Asian calligraphy.

Since 2000 he has been working on various long-term projects that incorporate his activity as a poet/writer and visual artist into a symbiotic interrelationship. Mid 2009 will begin to see some of those projects coming to fruition, as the ideas mature, new visual & written material will be added to this web site.

 

 

 

Solo Exhibitions

 

 

 

 

1988

Recent Works, Footscray Community Art Centre, Vic., Aust.

1987

Visions at Twilight, State Bank Galleria, Melbourne, Vic., Aust.

1986

Visions at Twilight, Melbourne Town Hall, Vic., Aust.

1985

Nomadic Observations: Studio Exhibition, Carlton, Melbourne, Vic., Aust..

 

 

 

 

Group Exhibitions

 

 

 

 

2000

Fuori Sede (public space intervention), Istituto Svizzero di Roma, Rome, Italy.

1986

Recent Works by Olivier Burckhardt & Janice McBride
Doncaster/Templestowe Art Gallery, Vic., Aust.

1986

The Lens and Eye: Photographs from the City of Waverly Art Collection
Monarsh University Gallery, Melbourne, Vic., Aust.

1986

Recent Acquisitions from the City of Waverly Photographic Collection
Waverly City Gallery, Vic., Aust.

1985

7 Meter Photographic Track from Path Edge/Mind Edge
in Gudrun Klix "Recent Works", Craft Council Galley, Sydney, NSW, Aust.

1984

Path Edge/Mind Edge, installation with Gudrun Klix (mixed media)
Gryphon Gallery, Melbourne, Vic., Aust.

1984

Path Edge/Mind Edge, installation with  Gudrun Klix (mixed media)
Adelaide Festival Centre Gallery, Adelaide, South Aust.

1984

The Tower Show, Chameleon Gallery, Hobart, Tasmania, Aust.

1983

ANZART in Hobart, Ex-mail exchange, Hobart, Tasmania, Aust.

1983

The Art of Knitting, Environment sculpture, Wellington, New Zealand.

1982

F1: New Zealand Sculpture Project, Wellington, New Zealand.

 

 

 

 

Commissions / Artist in Residence

 

 

 

 

2001

Commission for photographic documentation of antiquities at the Swiss Institute in Rome by the Bundesamt für Kultur, (Swiss Federal Council for the Arts).

1999/2000

Fellow in residence (artist/writer), Swiss Institute in Rome, Italy.

1987-88

Artist in residence, Footscray Community Arts Centre,  Vic., Aust.

1986

Artist in residence, Melbourne City Council Arts Branch, Vic., Aust.

 

 

 

 

 

 

 

 

 

Photographic Work Published:

 

 

 

 

 

“Lighthouse: A Photo-essay”
Trans-Tasman Undercurrent, Melbourne, Aust., Vol. 1, No. 1, 1985, pp. 9-16.

 

 

 

 

Exhibition Catalogues 

 

 

 

 

 

Fuori Sede
Artisti dell'Istituto Svizzero di Roma, Collectanea Vol. 20, 1999/2000.

 

The Lens and Eye: Photographs from the City of Waverly Art Collection
Monarsh University Gallery, Melbourne, 1986.

 

Recent Acquisitions from the City of Waverly Photographic Collection
Waverly City Gallery, Melbourne, 1986.

 

The Tower Show, Chameleon Gallery, Hobart 1984.

 

ANZART in Hobart, (Hobart 1983).

 

F1: New Zealand Sculpture Project, (Wellington 1982).

 

 

 

 

Reviews

 

 

 

 

 

“ Reflections and visions of a nomadic artist”
Profile/Interview by Michaela Rost Directions, Melbourne March 1988, p. 2.

 

“Visions through the lens of a poetic idealist”
Interview by Anna Murdoch, The Age, Melbourne 11 March 1987, p. 14.

 

“Modernism's dark clouds and silver linings”
Exhibition review by Gary Catalano, The Age, Melbourne 27 November 1985, p. 14.

 

“Klix Sticks, Almost Clicks: Path Edge/Mind Edge” Exhibition review by John Teschendorff, Pottery in Australia, Vol. 23, No. 2, Sydney Nov/Dec. 1984, p. 56.

 

“Ceramic 'snake' poses difficulties” Exhibition review by Neville Weston, The Advertiser, Adelaide 12 June 1984, arts page.

 

“Path Edge/Mind Edge” Exhibition review by Ken Scarlett, Craft Vic., No. 143, Melbourne March 1984, p. 9.