30 November–17 December
Opens 30 November 6pm–8pm
Reliefs
Tim Buckovic
30 November–17 December
Opens 30 November 6pm–8pm
27.
Geoff Newman
27 is an installation-based work exploring the way shifts in material, scale and association affect the value and readings of everyday objects. Geoff Newman is a Melbourne based artist, increasingly interested in the way these devices are used to create built environments. His practice deals with issues of community and the spaces we create for ourselves. His previous work has dealt largely with issues of social history and the relationship between water and wealth.
30 November–17 December
Opens 30 November 6pm–8pm
Daily Exercise (1 to 3)
Ann Fuata
Daily Exercise (1 to 3) is the second installment of a three-part series titled ‘Walk’. The Walk series explores the synergy between nature (man), technology and performance within the civic space. Incorporating low-fi filming techniques and pedestrian gestures, Daily Exercise (1 to 3) telescopes how our actions are thoughts manifested into the future present.
30 November–17 December
Opens 30 November 6pm–8pm
⌘-C
Luke Hand
⌘-C is an exhibition of playfully iconoclastic, OTT and kind-of-random multi-disciplinary works including drawing, installation and video. A number of these works were originally exhibited on the artist’s blog and have already garnered 70+ Facebook likes, NBD. Luke Hand is a Melbourne based artist interested in obsession and appropriation.
30 November–17 December
Opens 30 November 6pm–8pm
Heat death in the afternoon
Nathan Barnett and Robbie Dixon
Robbie Dixon and Nathan Barnett present some sculpture for your enjoyment. Nathan Barnett displays the remnants of studio phenomena based on entropy, stoppage, editing, and petrochemical materiality. Robbie Dixon shows some work that transplants nautical semiotics out of water and on to land in an effort to reach a directional equilibrium, and eventually a destination. The works square off against one another in an exchange that represents the conclusions reached within an ongoing competitive debate on the topic of form.
9 November – 26 November
Opens 9 November 6pm–8pm
9 November – 26 November
Opens 9 November 6pm–8pm
Burger Shop Blues
Lillian O’Neil
I made these big collages while thinking about UFO’s, love and celebs. Collage enables me to make work which closely resembles the imprints and shadows left in the memory by societal visuals. These collages are time traveling historical records of memory and imagination, salvaged and re assembled to create non-linear maps of the tragicomedy of humans diminutive power when faced with the epic.
Fast fact! – If you’re in a UFO religion you have an 85% chance of being single.
9 November – 26 November
Opens 9 November 6pm–8pm
In the Zone:
Jo Persson
As we watch the boy watching the ball, and as we watch the ball being watched by the boy, we too get caught in the alluring mantra composed through the ceaseless, repetitive and seemingly futile activity of a never-ending game with no obvious purpose or outcome. The blending of form, colour and movement all work together to recreate the sensory stimulating combination of boy and ball who whether motivated out of boredom; out of fantasies of grandeur; or out of an innate need, enter ‘the zone’ that engulfs their senses like a hypnotic meditation.
9 November – 26 November
Opens 9 November 6pm–8pm
Palace of tears
Hermoine Merry and Henriette Kassay-Schuster
The Palace of Tears :: Tränenpalast in Berlin operated as the customs threshold between East and West Berlin, a place of greetings and farewells. Drawing on this architecture and the Germanic landscape
p a l a c e o f t e a r s examines the liminal zone, mortality, cultural grief, (mis)communication and identity. The work was developed through the support of international artist residencies at Takt Kunstprojektraum and Pistorius142 A.I.R.
9 November – 26 November
Opens 9 November 6pm–8pm
The Colour Notation Project
Ben Millar
The Colour Notation Project considers the interaction between colour,sound and performance. The viewer is invited to become an active participant in the work of art by reading and playing blocks of colour assigned to particular notes on a guitar.
The Colour Notation Project creates an intimate and interactive installation that develops a relationship between painting and performance. The installation contains four components – the painting, the performance, the audience and the exhibition space. Each of these will act as separate components to make a whole. The project focuses on the way both the artist and the audience participate in the work.
