Frances Barett, Giselle Stanborough and Sally Rees will each receive $100,000 as recipients of the inaugural Suspended Moment: The Katthy Cavaliere Fellowship, established in October last year in the name of the late Australian installation and performance artist Katthy Cavaliere.

Katthy CavaliereSally Rees, Giselle Stanborough, Frances Barrett. Photo © Daniel Boud

The fellowship is designed specifically for female-identifying Australian artists or artist collectives, and was made possible by funds from Cavaliere’s estate. The title is taken from Cavaliere’s early career survey exhibition in 2004, Suspended Moment. Artists were invited to submit proposals for an ambitious new work focussing on the intersection of installation and performance art practice and each of the three recipients will use the money to showcase a new individual work at one of three institutions, Melbourne’s ACCA, Sydney’s Carriageworks and Hobart’s MONA in 2020.

The selection panel comprised representatives from the exhibiting institutions, including Daniel Mudie Cunningham form Carriageworks, David Walsh and Nicole During from MONA and Max Delany and Annika Kristensen from ACCA.

“From a most impressive application pool of almost 300 applications, and after much deliberation and rewarding discussion, we are delighted to announce Frances Barrett, Giselle Stanborough and Sally Rees as the Katthy Cavaliere Fellows,” the panel said in a statement. “Each are exceptional artists working at the forefront of experimental performance and installation practices, and each presented proposals that are especially fitting of Katthy’s legacy.”

Frances Barett, currently a PhD candidate in Curatorial Practice at Monash Art Design and Architecture, will have her work – a sound and light installation, with composed scripted and improvised vocalisations as a looping score – exhibited at ACCA from April 4 to June 8 next year. Her working title is The future echoes and it foregrounds the audience as a critical and active listener, in order to propose listening as an urgent mode of political agency.

Sydney-based intermedia artist Giselle Stanborough will be presenting her work Cinopticon at Carriageworks from March 6 to June 8. Stanborough’s work will be an immersive performance installation, drawing on Foucault’s ‘panopticon’ theory of surveillance and self, in which audiences will see their reflection in unpredictable ways.

Tasmanian artist Sally Rees will exhibit Crone – a series of works comprised of animations, prints and actions – at MONA from April 8 to August 10. Through this installation she seeks to redefine the identity of ageing women in contemporary society as a powerful and transgressive figure.

“We are now excited to progress this significant new initiative, working with the artist fellows towards three major exhibitions of large-scale and ambitious new work to be presented in the first half of 2020,” the selection panel said. “We commend the Katthy Cavaliere estate for their generous and inspirational support of Australian women artists.”