Giles Fielke
'Triennial', at NGV International, by Giles Fielke

Richard Mosse, Incoming, (2015–16), three channel black and white high definition video, surround sound, 52 min 10 sec (looped).

Triennial, NGV International, December 17, 2017 – April 15, 2018.

Buried within the question recently explored by Felicity D. Scott, ‘Who is the festival for?’, is the rapidly fading possibility of a public. It is a discourse that seems to slip too easily into arguments about the centrist compromise of regulated-, or neo-liberal, architectures of the state....

Giles Fielke
Retrospective Hypothesis:  'On Campus', curated by Raimundas Malašauskas at Monash University, by Giles Fielke

On Campus at Monash University, February 14 – 15, 2017

Retrospective Hypothesis: On Campus curated by Raimundas Malašauskas, at Monash University, February 14 – 15, 2017

'It is said that the voice rips open reality'. This is apparently the only utterance I had thought worthwhile writing down into the blank, A5-sized notebook I had been supplied with at the beginning of On Campus. I cannot recall who suggested this maxim in the course of the two-day program that took place at Monash Univ...

Giles Fielke
Desperately Seeking Representation: 'Open Spatial Workshop: Converging in Time', Monash University Museum of Art, by Giles Fielke

Open Spatial Workshop: Converging in time, installation view: Monash University Museum of Art, Melbourne, 2017. Photo: Andrew Curtis

Open Spatial Workshop, Converging In Time, Monash Museum of Art, 11th Feb – 8th April 2017

Somewhere between geology, geography, colonisation and resource extraction is where Open Spatial Workshop (OSW) attempt to situate their highly conceptual, sculpture-based exhibition entitled Converging In Time. A huge, fossilised Kauri tree log found within a coal...

Giles Fielke
Aspiring to Anti-Aspiration: Lucina Lane's 'Range' by Giles Fielke

Lucina Lane Range, (2017) Photo: Christo Crocker.

Lucina Lane, Range, White Cuberd, 8pm-10pm, 15 January 2017

Off-site art exhibitions have seen something of a resurgence in Melbourne over the past few years. There are a number of reasons for this, not the least being the rapidly rising cost of rent in the city, which seems to force a commercialise or perish imperative on artists exhibiting work early in their career. Mediating the reappearance of ‘recession art’, as Peter Cripps ter...