• 6th Mar 2019

    Work by Daniel Boyd and Tony Schwensen will be on view in ‘National Anthem’, the upcoming exhibition at Buxton Contemporary. Built around key works in the Michael Buxton Collection, this project reflects on the ways that the desire for a singular national identity often excludes Indigenous histories and denies the multiplicity of voices, cultures and experiences that enrich, contest and enhance Australian life. Channelling humour and satire and engaging in tactics such as play, intervention and confrontation, the artists in 'National Anthem' seek self-determination and collectively hold a mirror up to contemporary Australia, prompting new representations of who we are or who we might aspire to become. (image: Daniel Boyd, 'Untitled (GMGCC)' 2018)
  • 1st Mar 2019

    Isadora Vaughan’s exhibition ‘Gaia Not The Goddess’ opens tomorrow at Heide Museum of Modern Art. In realising her large-scale sculptural forms, Vaughan reconsiders the basic properties of materials and their capacity to suggest meaning beyond themselves—poetic, political, organic or otherwise. For this installation, Vaughan has worked with bio-composite materials that have lately been gaining traction in debates around sustainable development: fungal mycelium and a compound of hemp and lime variously marketed as Hempcrete or Hemplime, along with materials local to Heide: the Mt Gambier limestone of McGlashan and Everist’s iconic Heide II, and beeswax from Heide’s colonies. (image: Isadora Vaughan, 'Gaia Not The Goddess' 2018 (process image))
  • 28th Feb 2019

    Clare Milledge is included in 'Second Sight: Witchcraft, Ritual, Power’ at UQ Art Museum. ‘Second Sight’ brings together artists who conjure ideas related to witchcraft, sorcery and magical practices. The exhibition offers a space for intuition, rituals, collective happenings, incantations, and peripheral activity — practices recurrently dismissed as mere magical phenomena. Clare has created an installation called 'Art as Fieldwork: Hot Spell on the Way’, which involved her conducting fieldwork with ecologists in parts of regional Australia, collecting material and making field recordings. (image: Clare Milledge, 'I am a flood: across a plain; I am a thorn: beneath the nail’ 2019, front)
  • 16th Feb 2019

    Patrick Pound is included in ‘Exchange Value’ at QUT Art Museum, open from today until 28 April. ‘Exchange Value’ brings together the works of 11 Australian and international photographers in an exhibition that offers rich and challenging insights into the world of documentary photography. The exhibition explores close-up accounts of those on society's fringes – skinhead subculture in 1970s London, poor Egyptian neighbourhoods during the Arab Spring, the sterile confines of a mental institution – as well as the photographers documenting them. As the relationship between photographer and subject becomes visible, so does the potential for greater possibilities in image making. (image: Patrick Pound, ‘the neighbourhood’ 2019 (detail))
  • 14th Feb 2019

    “The first encounter of ‘The Theatre Is Lying’ is with a screen, transparent and flat, supported by a metal frame, castors and handles. A screen to be moved; a screen for seeing through, not around. The artist, Consuelo Cavaniglia, makes work that forces us to encounter architectural space, embedding us in its network, its system. Hers is a theatre of five dimensions.”

    Lisa Radford’s review of ‘The Theatre is Lying’, which includes a new body of work by Consuelo Cavaniglia, was published in The Saturday Paper. Read the full review.

    The Theatre is Lying’ is on view at the Australian Centre for Contemporary Art until March 24.

    (image: Consuelo Cavaniglia, ‘distant present’ 2018 (installation view). Photograph by Andrew Curtis)

  • 13th Feb 2019

    Jonny Niesche’s debut monograph, 'Cracked Actor: Works 2013–18', was recently published by Verlag für Moderne Kunst, Vienna. The publication includes essays by Martin Herbert, Kristina Marberger and Nadim Samman, alongside pivotal works created by Niesche from 2013 to 2018.
  • 8th Feb 2019

    Patrick Pound (with Rowan McNaught) is included in ‘The Model Citizen’ at RMIT Gallery, open now until 23 March. 'The Model Citizen' invites audiences to decide what sort of citizens they want to be. From harvesting the data of the dead to hybrid bio robot citizens, the high stakes are explored in this compelling new exhibition. (image: Patrick Pound with Rowan McNaught, Near Neighbours, 2018)
  • 2nd Feb 2019

    ADAM LEE - MONOLITH Stonehouse–Glasshouse Residency 2017 Adam Lee was the first recipient of the Stonehouse/Glasshouse residency. He travelled with his family to Chenaud, France, where he spent six weeks in the studio in July and August 2017. Upon returning to Australia, Lee made the body of work ‘Monolith’, which was shown at Gertrude Glasshouse in January 2018. ‘Monolith’ draws upon Lee’s experience of remoteness within the rural landscape of Southern France. The works mine aspects of local folklore and religious mythologies, interweaved with fragments of the personal and autobiographic. Dr Kent Wilson, senior curator at the La Trobe Art Institute, wrote an essay to accompany the show. This essay is reproduced in the book, together with installation photographs of the Gertrude Glasshouse exhibition and images of the individual works. Book launch: Saturday 2 February, 2–4pm at Gertrude Glasshouse
  • 30th Jan 2019

    André Piguet and Jackson Slattery’s show ‘La Dronne', at Gertrude Glasshouse, is an exhibition of works devised while the two artists undertook the 2018 Stonehouse/Glasshouse studio residency in Chenaud, France. Organised by private benefactors and long-term Gertrude Contemporary supporters Michael Schwarz and David Clouston, and Antje and Andrew Géczy, this invitational studio residency program provides the opportunity for Australian and New Zealand artists to live and work in for a period of time in Europe. Piguet’s new body of work continues his exploration of emergent and imaginary spaces. As an exercise in seriality and speculative image making, this new suite of paintings provide an immersive viewing experience inspired by the La Dronne river of south western France. (image: André Piguet, 'La Dronne', installation view, Gertrude Glasshouse, 2019)
  • 17th Jan 2019

    Works by Nell and Tony Schwensen will be exhibited in ‘Just Not Australian’, Artspace, Sydney’s inaugural show for 2019. The exhibition brings together 19 Australian artists across generations and mediums to investigate the origins and implications of contemporary Australian nationhood. Underscoring the sensibilities of larrikinism, satire and resistance, this timely thematic show serves to interrogate the presentation and representation of Australian national identity. (image: Nell, ACDC Altar Cloth (from Chanting with Amps), 2012)