Paris Lettau

Helen Maudsley, The Self: Part of it But Not Merging, 2017, oil on canvas, 52.5 x 40.0 cm © Helen Maudsley

Our Knowing and Not Knowing: Helen Maudsley at the Ian Potter Centre: National Gallery of Victoria Australia, 17 November 2017 – 12 March 2018

Curated by National Gallery of Victoria contemporary art curator Pip Wallis, Our Knowing and Not Knowing: Helen Maudsley is one of four summer solo shows on the third floor of the NGV Australia, including Louise Paramour, Mel O'Callaghan and...

Paris Lettau

Isadora Vaughan, Recalcitrant Bodies, installation view. Photography: André Piguet.

"The Great Indoors": Recalcitrant Bodies, by Isadora Vaughan at The Honeymoon Suite, Lv1, 60 Sydney Rd, Brunswick, 1–23 September 2017

Isadora Vaughan's practice is synonymous with a certain style of sculpture and installation that has emerged over the past decade amongst a new generation of (usually VCA-trained) Melbourne-based artists. It is a style that emphasises materiality, indeterminacy and conting...

Paris Lettau
'Hebdomeros', Raafat Ishak & Damiano Bertoli at Sutton Gallery, by Paris Lettau

Damiano Bertoli, The Serenity of the Poet, 2017, pencil on paper, 42 x 29.7 cm. Image courtesy the artist.

Raafat Ishak & Damiano Bertoli, Hebdomeros, Sutton Gallery, 21 April – 20 May 2017

There is an irony to Hebdomeros, and that is that the exhibition teaches us more about the Italian 'metaphysical' painter Giorgio de Chirico (1888-1978) than it does about either of its two collaborating Melbourne based artists, Raafat Ishak and Damiano Bertoli.

The modest exhibition, which accomp...

Paris Lettau
This War Never Ended: 'Sovereignty' at ACCA, by Paris Lettau

Sovereignty, Australian Centre for Contemporary Art, curated by Paola Balla and Max Delany, 17 December 2016 – 26 March 2017

Anyone familiar with contemporary art exhibitions, art fairs and international biennales might notice that Sovereignty just doesn’t quite feel like an exhibition of contemporary art. And it raises one question: Why is this?

It can’t only be explained by Sovereignty’s display of cultural products that aren’t “fine art”, because contemporary art curators regu...