Anna Parlane
Michael Stevenson: <i>Serene Velocity in Practice: MC510/CS183</i>

Michael Stevenson, Serene Velocity in Practice: MC510/CS183

Monash University Museum of Art
22 May – 6 July 2019

By Anna Parlane

Serene Velocity in Practice: MC510/CS183, recently opened at the Monash University Museum of Art (MUMA), is the first major exhibition by the Berlin-based New Zealand artist Michael Stevenson to be held in Australia in some years. Since his survey show at Sydney's Museum of Contemporary Art in 2011, Stevenson has generated a new body of work that demands a shi...

Anna Parlane
Marlene Gilson

Marlene Gilson

Art Gallery of Ballarat 21 September 2018 – 3 February 2019

By Anna Parlane

At first impression, the current exhibition of paintings by Wathaurung Elder Aunty Marlene Gilson at the Art Gallery of Ballarat is thoroughly charming. Gilson offers an Indigenous perspective on Australian history, using a delicate naïve style that evokes directness and simplicity. On reflection, I found that Gilson's history paintings are more complex than their picture-book appearance suggests. Or...

Anna Parlane
TEETH, GUMS, MACHINES, FUTURE, SOCIETY | Exoplanets

Lili Reynaud-Dewar, TEETH, GUMS, MACHINES, FUTURE, SOCIETY

Alicia Frankovich, Exoplanets

Monash University Art Museum
6 October – 15 December 2018

By Anna Parlane

The paired exhibitions currently on show at the Monash University Museum of Art (MUMA) are linked by the figure of the prosthetically enhanced, composite or permeable body. Alicia Frankovich's Exoplanets, 2018, and Lili Reynaud-Dewar's Teeth Gums Machines Future Society, 2016-18, both explore territory that can be desc...

Anna Parlane
A Lightness of Spirit is the Measure of Happiness

A Lightness of Spirit is the Measure of Happiness

Australian Centre for Contemporary Art, 7 July – 16 September 2018.

By Anna Parlane

The current exhibition at the Australian Centre for Contemporary Art (ACCA), A Lightness of Spirit is the Measure of Happiness, is very welcome. This is in part because it is the inaugural product of an institutional and governmental investment in not only Indigenous artists but also Indigenous curators. A partnership between Creative Victoria, ACCA and Ta...

Anna Parlane
Hard Feelings

Hard Feelings

The Honeymoon Suite, Lv1, 60 Sydney Rd, Brunswick, 4 May – 2 June 2018

By Anna Parlane

When The Honeymoon Suite opened in 2016, it was with Rose Coloured Glass, an exhibition of work by four artist couples that flirtatiously invited viewers to guess who was dating whom. Rose Coloured Glass wondered: can romance blossom from a shared passion for abstraction? Or vice versa? The Honeymoon Suite was established as a platform to bring emerging and established artists togethe...

Anna Parlane
Kirsten Lyttle: Digital Mana

Can you wear a digital cloak?

Kirsten Lyttle, Digital Mana

Centre for Contemporary Photography, 2 February – 11 March 2018

By Anna Parlane

Kirsten Lyttle (Waikato, Ngāti Tāhinga, Tainui a Whiro) is a New Zealand-born, Australia-based artist who has built a practice on the intersection of photography and weaving: two art-making traditions that initially seem to have little in common. However, Lyttle’s signature combination asserts that the distinction between customary Māori weaving prac...

Anna Parlane
Jason Phu: My Parents Met at the Fish Market

Jason Phu, My Parents Met at the Fish Market

Westspace, 27 October – 9 December 2017

By Anna Parlane

Jason Phu’s My Parents Met at the Fish Market is the latest in Westspace’s series of solo commissions, in which all four galleries are given over to one artist. While he is younger and less experienced than previously commissioned artists, Phu is clearly up to the task of filling the space. His irrepressible style is immediately manifested in the fact that to enter the exhibition’s secon...

Anna Parlane
Forever Transformed

Forever Transformed

Gertrude Contemporary, 21 High St Preston, 28 July – 9 September 2017

By Anna Parlane

The recent relocation of Gertrude Contemporary from its long-term home in Fitzroy is both cause and effect of Melbourne’s ongoing gentrification. Having occupied 200 Gertrude Street for over three decades, the gallery’s move was forced by the rising costs of remaining in this increasingly “desirable” neighbourhood—a desirability, it is worth noting, that was in part stimulated by the p...