Amelia Winata
Grotesque Mostest: Spencer Lai, ‘Contaminant, Figures’ at Fort Delta, by Amelia Winata

Spencer Lai, Mustard (torture device), 2017, synthetic felt, 940 x 720 mm. Image courtesy of the artist and Fort Delta.

Spencer Lai, Contaminant, Figures, Fort Delta, 6-29 July 2017

Spencer Lai's work is part of a contemporary exploration of the grotesque that taps into the destabilising qualities of late capitalism and considers its effect upon issues of identity, including gender and sexuality. This current was picked up on by Jonathan Griffin in his 2012 essay Rudely transgressing th...

Helen Hughes
Liam Osborne, 'Hot Copy', at Punk Café, by Helen Hughes

Liam Osborne, Hot Copy, Punk Cafe, Melbourne, 2017, courtesy the artist.

Liam Osborne, Hot Copy, Punk Café, 8 July – 22 July 2017

Presented by Liam Osborne, the young Melbourne artist and director/curator of the Brunswick East gallery Punk Café, Hot Copy is a meditation on themes of boredom, repetition, monotony, uselessness and impactlessness. These themes are charted both in relation to the artist's day-to-day routines (working to pay rent, to make art, etc.) and in relation to the rol...

Kylie King
'Dale Frank', at Neon Parc, Brunswick,  by Kylie King

Dale Frank, installation view, 2017, photography by Christo Crocker.

Dale Frank at Neon Parc, 15 Tinning St, Brunswick, 30 June–12 August 2017

Any presentation of Dale Frank's work could easily be passed off as a prime prop for Instagram ops. His paintings—dazzling in size and colour, slick and hyper-reflective—demand attention and entertain. Yet they are also unsettlingly grotesque and possess an overarching posture of cool detachment. Indeed, his current exhibition at Neon Parc is as...

Francis Plagne
'Every Brilliant Eye', at NGV Australia, by Francis Plagne

Marco Fusinato, Paintings, 1996, enamel paint on steel and composition board (a-e), 220 x 281 x 10 cm (overall), National Gallery of Victoria, Margaret Stewart Endowment, 1996, © Marco Fusinato/Licensed by VISCOPY, Australia.

Walking through Every Brilliant Eye—a large survey of the NGV's holdings of Australian Art from the 1990s curated by Jane Devery and Pip Wallis—I was struck by how much it look like parts of Melbourne Now, the NGV's sprawling 2013-2014 snapshot of contemporary art p...