Troy Ramaekers, Double B-Sides Photo credit: Tim Gresham
Troy Ramaekers, Double B-Sides, Five Walls Projects, April 4-21, suite 3, lvl 1/119 Hopkins St, Footscray.
Troy Ramaekers’ current exhibition at Footscray gallery Five Walls, titled Double-B Sides, features four deceptively simple paintings. The artist has stretched large canvases, taller than wide, and around the edge of each is a bleeding red border. This border contains a trace of the stretcher behind the canvas as well as the...
Vivienne Binns, From David’s jumper mark II, 2007–8, acrylic on canvas, 152.5 x 183.8cm. Image: Derek Ross.
Binns' Grids and Voids: It is what it is, what it is, Vivienne Binns at Sutton Gallery, 17 March – 14 April 2018
Vivienne Binns seems to have taught—or had some sort of mentor-like relationship with—a whole bunch of artists whose work I like: Charlie Sofo, Liang Luscombe, Trevelyan Clay, Kate Smith and Geoff Newton, to name just a few. If there is amongst some or all of these a...
Soda_Jerk, TERROR NULLIUS, 2018. Image credit: Soda_Jerk.
Soda_Jerk, TERROR NULLIUS, 20 March – 1 July,
Australian Centre for the Moving Image.
TERROR NULLIUS, the “controversial” new film by artist–filmmakers Soda_Jerk (Dominique Angeloro and Dan Angeloro) opens with a slightly distorted rendition of “Advance Australia Fair”. It appropriately sets the scene for what is to come, as the film takes its viewers on a wide-ranging journey, in three acts, which emphasises the dark...
Marco Fusinato, The Infinitive 3, 2015, white UV halftone ink on black aluminium, 250 x 625 cm, courtesy the artist and Anna Schwartz Gallery, Melbourne.
The shape of things to come, at Buxton Contemporary, cnr Southbank Boulevard & Dodds Street Southbank, 9 March – 24 June 2018
'Hegel remarks somewhere that all great world historical facts and personages appear, so to speak, twice. He forgot to add: the first time as tragedy, the second time as farce.' In 1885, some thirty-years after Ma...
Alex Martinis Roe, It was about opening the very notion that there was a particular perspective (installation view), 2015 – 17, three-channel video installation, HD video and 16mm film, 33:02 mins (total running time). Image credit: Andrew Curtis, © the artist
Unfinished Business: Perspectives on Art and Feminism, Australian Centre for Contemporary Art, 111 Sturt Street, Southbank, Melbourne, 15 December 2017–25 March 2018
Tomorrow is the last day of Unfinished Business: Perspectives on ...
Samraing Chea, Untitled (March 29th 2017), 2017, pencil on paper, 29.5 × 40.5 cm, courtesy the artist and Arts Project Australia. Photo: Andrew Curtis.
Samraing Chea, Universal Drawings, proposed by Rob McHaffie and Matlok Griffiths at Reading Room, 3 March—24 March 2018
Universal Drawings is an appropriate title for the exhibition of 41 works by the artist Samraing Chea currently on show at Olivia Radonich’s new city central gallery, Reading Room. A thoroughgoing millenial subject ..
Mutlu Çerkez, Untitled: 18 April 2013 2002, oil on canvas, Art Gallery of New South Wales, Contemporary Collection Benefactors 2003.
Mutlu Çerkez: 1988–2065, at Monash University Museum of Art, Caulfield, 10 February - 14 April 2018
The exhibition Mutlu Çerkez: 1988 – 2065 and its accompanying monograph form a long awaited eulogy to an artist whose influence has remained largely unacknowledged since his unforeseen passing in 2005. It would not be conceited to say that the format of th...
Genesis Breyer P-Orridge, Speak No Evil, 2004, C-print face-mounted with UV Plexi, artist frame 61 x 183cm. Photograph by Adam Stone.
Loyalty Does Not End With Death: Genesis Breyer P-Orridge at The SUBSTATION, 1 Market St, Newport VIC 3015, 2 February–10 March 2018
Over the last five decades English artist, musician and poet Genesis Breyer P-Orridge has become the kind of person that others seek out. For some it might have been during the early 1970s when P-Orridge, and h/er involvement wi...