Giles Fielke
Triennial

Triennial

NGV International, 17 December 2017 – 15 April 2018

By Giles Fielke

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. The elaborate zones of exclusion raised for the National Gallery of Victoria’s inaugural Triennial, which follows its fi...

Giles Fielke
On Campus

Retrospective Hypothesis

On Campus, curated by

Monash University, 14 – 15 February 2017. Curated Raimundas Malašauskas.

By Giles Fielke

'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 University from February 14-15 this y...

Giles Fielke
Open Spatial Workshop: Converging in Time

Desperately Seeking Representation

Open Spatial Workshop, Converging In Time

Monash Museum of Art, 11 February – 8 April 2017

By Giles Fielke

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 seam in the La Trobe Valley lies on a large, rectangular papercrete platform tha...

Giles Fielke
Lucina Lane: Range

Aspiring to Anti-Aspiration

Lucina Lane, Range

White Cuberd, 8pm – 10pm, 15 January 2017

By Giles Fielke

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 termed a si...