Frédéric Nauczyciel, A Baroque Ball (Shade) [Paris Ballroom Scene & Dale Blackheart (Baltimore)], 2014, digital video, 5:13 minutes. Courtesy and © Frédéric Nauczyciel.
Cover Versions: Mimicry and Resistance, Shepparton Art Museum, 11 November 2017 – 14 January 2018 Curated by Anna Briers.
There is nothing I enjoy more than a good impersonation. I recently came across a video of a young Martin Short appearing on The Tonight Show with Johnny Carson. The conversation had turned to the var...
Mia Salsjö, Modes of Translation, 2017, production still. Image courtesy of the artist.
The Score, The Ian Potter Museum of Art, August 1 – November 5, 2017. Curated by Jacqueline Doughty.
One of the things I enjoy most about going to an orchestral performance are the moments when the musicians onstage complete their final warm-ups, exercises and tunings. Being not yet focused into a single force, the performers’ last-minute preparations are individual and not precisely coordinated or h...
Andrea Grützner, Untitled 5, 2014. Courtesy the artist and Julie Saul Gallery, New York; Robert Morat Gallery, Berlin.
Andrea Grützner, Tanztee and Erbgericht at Centre for Contemporary Photography, 9 June – 23 July 2017
Writing in Artforum in 2004, Abigail Solomon-Godeau described the 'miniature guillotine' of the camera's shutter. The camera slices a moment in time from the world, removing it from its original context, but also potentially relaunching it as a new, transformed event. In...
Daniel Crooks, Parabolic (installation view). Image courtesy the artist and Anna Schwartz Gallery
Daniel Crooks, Parabolic, Anna Schwartz Gallery, 11 February – 1 April 2017.
Miyanaga Akira, REALTIME, National Gallery of Victoria International, 18 November 2016 – 30 April 2017.
The growth of the large metropolitan cities of modernity occurred
largely alongside the invention and proliferation of camera technologies
in the nineteenth century. It is therefore not surprising that many...