Memo Review is committed to continuing our weekly reviews where possible throughout the current period.

We encourage readers to send us details of shows that are online or installed in closed galleries for possible review.
editor@memoreview.net

  • Daniel von Sturmer
    Anna Schwartz Gallery
    18 Feb –
    18 Feb 2020
    By Amelia Winata
    23 Feb 2019

    CATARACT
    2 February – 23 March 2019

    Electric Light (facts/ figures/anna schwartz gallery upstairs)
    2 February – 2 March 2019

    By Amelia Winata

    The two current exhibitions from Melbourne-based Daniel von Sturmer at Anna Schwartz Gallery are billed as discrete offerings, a fact underscored by the exhibitions' separate closing dates. CATARACT, on the gallery's ground floor, is a video work comprised of 81 small television screens that have been arranged in a grid formation, nine high and nine across. Upstairs is Electric Light, an incarnation of an older work that was originally shown at Collingwood's Bus Projects in 2017. However, this work is not identical to that shown at Bus. It is necessarily site specific because the light projection at the heart of Electric Light is programmed to highlight particular fixtures in the gallery such as power sockets and fire sprinklers. Despite the overly conscious isolated billing of the two works, CATARACT and Electric Light share von Sturmer's ongoing preoccupation with the human-shaped environment, explored by the creation of works that act as artificial environs within themselves.

    CATARACT is a precisely executed work that plays short clips of everyday activities and actions montaged across the large upright surface of a screened wall. The scenes, saturated with colour, last only a few seconds, vanishing shortly after appearing. In one of the clips, a rubber band quickly unfurls from a tightly wound formation; in another, a foot pads down into the soft sand of a shoreline; and, in a third, a blob of blue ink soaks quickly into a papery surface. Each scene quickly plays out, sometimes on more than one screen at any one time, before switching over to the next scene that we have already seen on a different screen. The gridded layout shrouds a chaos produced as a result of the random play order and repetition of these scenes. Taken individually, the everyday footage might offer a clichéd "respite" from the "monotony" of daily life. However, when taken as a single installation, with all 81 screens playing short, sharp scenes repeatedly but with seemingly little order, the effect is to agitate the viewer. Barely able to focus on the work as a whole, they struggle to grasp even the fragmentary scenes that last for but a few seconds. The result of the simultaneous order and chaos in CATARACT is unsettling.

    DANIEL VON STURMER, CATARACT, 2019, 81 screen installation, 300 x 510 x 40 cm. Image courtesy the artist and Anna Schwartz Gallery. Photograph: Zan Wimberley.

    In her 1979 essay 'Grids', Rosalind Krauss argued that the appearance of the grid in 20th-century art had become an "emblem of modernity". This rigid formation, as exemplified by the likes of Piet Mondrian, Agnes Martin and Robert Ryman, was able to uphold conflict by way of its "bivalent" nature—simultaneously transparent and opaque, vertical and horizontal, centrifugal (a tendency to shift towards the centre) and centripetal (a tendency to shift away from the centre), flowing and stagnant. The grid, she argued, was the ultimate breeding ground for what she called "myth", a particular state where contradictions or tensions could coexist. "The function of the myth", Krauss writes, "is to allow both views to be held in some kind of para-logical suspension". Though there are many moments of farfetchedness in Krauss's essay, she convincingly argued that the visual trope of the grid was representative of an uneasy and contradictory transition into modernity well underway in the 20th century. In a moment of absolute transition, artists turned to the grid to reject historical narrative and to create worlds where a sense of order came from chaos. Where they could have it all.

    Von Sturmer's grid is a contemporary extension of its modernist counterpart. He has produced a work typical of a new cohort of artists working specifically within the post-9/11 era of video art, concerned as it is with thematics of surveillance, hyper-consumption and screen culture. While Krauss discusses the grid in terms of its ability to uphold the tension between religion and science and, therefore, between tradition and modernity, the "contradiction" presented by von Sturmer is that between a state of calm and a state of anxiety. In this sense, he captures a paradox that characterises 21st-century late capitalism. Specifically, the paradox of being overworked and always stimulated in spite of technology that has promised to ease the burden of modern life. The mundane daily activities played out on the screens of von Sturmer's televisions are in plain sight, yet each clip must also compete with the eighty others it is playing simultaneously against. Not to mention the domineering, monolithic structure that the body of screens creates.

    DANIEL VON STURMER, CATARACT, 2019, 81 screen installation, 300 x 510 x 40 cm. Image courtesy the artist and Anna Schwartz Gallery. Photograph: Zan Wimberley.

    In recent years, contemporary artists have used the grid as a critical structure for the display of the moving image. South African artist Candice Breitz (also represented by Anna Schwartz) regularly produces multi-channel video works in a similar installation. For Australian audiences, Breitz's Queen (a Portrait of Madonna), 2005, held in MONA's Hobart collection, might come to mind as an archetypal video "grid work". But in contrast with von Sturmer's CATARACT, it is easier to watch. A heart-warming and humorous work of art, Queen presents the viewer with thirty individuals, each confined to their own screen, who are singing along to an array of Madonna hits, only with no backing track. The performers dance and sway to the songs (that they listen to through an earpiece) and confidently sing directly at the camera. The viewer, however, is also somewhat uncomfortable viewing the work. Many of the amateur performers are off-tune and seem unfairly subjected to the gaze of the camera person, the artist and us the viewers. The effect is not unlike the audition round of prime-time reality television shows such as Australian Idol where overly confident yet undertalented ordinary people offer entertainment to the general public. Yet another—though vastly different—video grid formation is Kahled Sabsabi's 70,000 Veils 2014, a 100-channel video installation comprised of 30,000 everyday images. They were photographed by Sabsabi over the course of three years and eventually converted into 3-D clips, each "veiled" with the same almost fluorescent green overlay that evokes the colours created by cracked screens and an almost alien sense of removal from reality. Sabsabi's "veils" do not block out in the traditional sense of the word. Instead, the 3-D effect of the work allows the viewer to experience virtual depth. While Krauss discussed the ability to look at and through the grid, she nonetheless described a flat image. Sabsabi, on the other hand, heightens a sense of depth by engaging the third dimension. I don't mean to conflate von Sturmer, Breitz and Sabsabi's works, but to point to an identifiable tendency in contemporary video art to employ the grid as a device that references the contradictions of daily existence.

    DANIEL VON STURMER, CATARACT, 2019,81 screen installation, 300 x 510 x 40 cm. Image courtesy the artist and Anna Schwartz Gallery. Photograph: Zan Wimberley.

    For CATARACT, the tension between the micro and macro might have influenced von Sturmer's decision to install the work close to the entrance of the gallery, facing towards the back of the room so that the viewer can witness it from a considerable distance. From here, the screens become indistinct pixels of clashing colours. With colour flicking on and off at a fast pace, the emphasis quickly shifts from content to structure: to once again make reference to Krauss, the centripetal gives over to the centrifugal. Realism gives over to abstraction. Rather than the depiction of daily actions that are visible up close, at a distance von Sturmer presents a blur of abstracted shapes and movements as if each screen mimics an individual digital pixel's relation to the greater whole to which it belongs, i.e., the picture that it forms a part of. The suggestion is one of a Russian doll of parts and wholes: the pixel a part of the screen; the screen a part of the installation; the installation a part of the gallery; the gallery a part of the architecture, etc. By declaring the screen's status as a building block of a potentially infinite larger whole outside the installation itself, von Sturmer's screens become an index of the universe at large.

    DANIEL VON STURMER, Electric Light (facts/figures/anna schwartz gallery upstairs), 2019, Animated light installation, Dimensions variable. Image courtesy the artist and Anna Schwartz Gallery.

    Upstairs, von Sturmer's Electric Light (facts/ figures/anna schwartz gallery upstairs), 2019, is a relief to the intense retinal over-stimulus of Cataract. Stationed in the corner of the gallery is a lone, motorised head-profile light (not dissimilar to the lighting used in stage productions) that swivels on its base and projects various shapes on to the surfaces of the gallery, including the ceiling, floor and an artificial wall installed at the far end of the gallery. There is a relationship to the downstairs installation insofar as both consider the experience of human-made space, though there is a holism to Electric Light that CATARACT does not have. Considering the two installations as separate but interconnected, I am reminded of the film Chunking Express, 1994, from Wong Kar-wai, a film split into two separate narratives about two policemen shown one after the other but set in Hong Kong and around the same neighbourhood, including a diner that both protagonists frequent, though they are never seen in the others half of the film. Despite the similar settings, one storyline is decidedly noir while the other takes on a more classical romance narrative. The relationship to site is important to both CATARACT and Electric Light, though the latter is dependent on it while the former is enhanced by it.

    DANIEL VON STURMER, Electric Light (facts/figures/anna schwartz gallery upstairs), 2019, Animated light installation, Dimensions variable. Image courtesy the artist and Anna Schwartz Gallery.

    Alone in the large gallery with the robot-like light, it was impossible for me not to anthropomorphise this piece of electrical gear. Electric Light, to my mind, centres on the profile-light as protagonist; it reminds me of a small child who, suddenly aware of the interconnection between themselves and the world around them, takes pleasure in pointing out each and every detail of their milieu. With its distinctive robotic noises, the light emphasises the space through a series of choreographed acrobatics that are a delicate mixture of poetics and fact. For instance, at one particular point in a 25-second sequence, the light creates a white frame around a pane of window glass (an allusion to the grid?) before morphing into a square that travels up the wall and moves along the ceiling, shifting with short and sharp movements before returning to another window pane, morphing to once again frame the glass's shape, before shifting down the wall now as a hollow rectangle that finally flips and falls further down the wall. At another point, the profile light floods each power socket in the room in a solid, white rectangle, and then seemingly self-consciously highlights the very power socket it is plugged into before finally spinning 180 degrees to project a solid circle onto the floor directly in front of it. The interaction between self and environment is mimicked by the diminutive robotic lamp that points out all manner of details though the immaterial medium of light.

    DANIEL VON STURMER, Electric Light (facts/figures/anna schwartz gallery upstairs), 2019, Animated light installation, Dimensions variable. Image courtesy the artist and Anna Schwartz Gallery.

    There are obvious parallels to be drawn between Electric Light and the work of the Bauhaus artists. In particular, we might create a parallel with Ludwig Hirschfeld Mack who produced the Farbenlichtspiele apparatus in the early part of the 20th century, a machine that created a series of colourful, layered light projections that appeared to dance across the surface they were presented upon. The difference though is that Electric Light projects only a single morphing shape that is white and therefore colourless, while the Farbenlichtspiele were reliant upon the relationship between projected shapes and the harmony of the various colours of each shape. In other words, the holism of von Sturmer's work highlights the greater spaces it inhabits, while the atomism of the Farbenlichtspiele created small self-standing microcosms. Despite this, von Sturmer undoubtedly exploits the utopian element of light that Hirschfeld Mack originally sought to achieve in the 1920s to imagine an alternative world. It has often been said that the Bauhäuslers used technology to produce utopias in order to tolerate the grave reality of the times: Nazism and the impending world war. Perhaps with Electric Light von Sturmer presents new utopian visions, if only by way of selecting and augmenting particular pre-existing spaces, in order to tolerate the precarious global socio-political situation we currently find ourselves in.

    DANIEL VON STURMER, Electric Light (facts/figures/anna schwartz gallery upstairs), 2019, Animated light installation, Dimensions variable. Image courtesy the artist and Anna Schwartz Gallery.

    It is ironic that downstairs CATARACT speaks of the world around it (and so us), but the ultimate effect of the grid of screens is to reduce the short narrative actions depicted on each television to an experience of alienation, while upstairs it is a machine that creates a human experience of the environment. The all too common clichés of utopias and dystopias are presented though somehow flipped on their head, so that the images we most associate with daily life offer us the least comfort.

    Amelia Winata is a Melbourne-based arts writer and PhD candidate in Art History at the University of Melbourne.

    Title image: DANIEL VON STURMER, CATARACT, 2019, 81 screen installation, 300 x 510 x 40 cm. Image courtesy the artist and Anna Schwartz Gallery. Photograph: Zan Wimberley)


    2020 #14 Jane Eckett Virginia Cuppaidge, The Skyspace Paintings 1977 - 1982 Nicholas Thompson Gallery
    2020 #13 Rex Butler Callum Morton, Monument #32: Helter Shelter Alfred Deakin Place Ballarat
    2020 #12 Amelia Winata Ari Tampubolon, Symposia: This show is dedicated to K-pop girl group, TWICE. I love you. SEVENTH Gallery
    2020 #11 Giles Fielke Warwick Baker, Hi-Vis Dreams Centre for Contemporary Photography
    2020 #10 Amelia Wallin Agatha Gothe-Snape, The Outcome is Certain Monash University Museum of Art
    2020 #09 Audrey Schmidt Alethea Everard, Art show Meow2
    2020 #08 Chelsea Hopper Elizabeth Gower, LOCATIONS Sutton Gallery, Sutton Projects
    2020 #07 Paris Lettau KAWS: Companionship in the Age of Loneliness NGV International
    2020 #06 Victoria Perin Assembled: The Art of Robert Klippel Tarrawarra Museum of Art
    2019 #51 Luke Smythe Colin McCahon: Letters and Numbers National Gallery of Victoria
    2019 #50 David Wlazlo 110%: Wet Nurse c3 Contemporary Art Space
    2019 #49 Helen O'Toole Luke Sands Guzzler
    2019 #48 David Homewood Robert Hunter Ian Potter Centre: NGV Australia
    2019 #47 Giles Fielke Kate Wallace, Views to Remember / Travis McDonald, Clock Face C3 Contemporary Art Space
    2019 #46 Audrey Schmidt In Costume Mejia
    2019 #45 Marnie Edmiston Collection leads: John Scurry—small paintings Geelong Gallery
    2019 #44 Rex Butler Collecting Comme National Gallery of Victoria
    2019 #43 Francis Plagne Elizabeth Newman Neon Parc City
    2019 #42 Amelia Winata Preparation Haydens
    2019 #41 Victoria Perin Never the same river Anna Schwartz Gallery
    2019 #40 Philip Brophy Haroon Mirza: The Construction of an Act Australian Centre for Contemporary Art
    2019 #39 Matthew Linde Balenciaga: Shaping Fashion Bendigo Art Gallery
    2019 #38 Maddee Clark Fiona Foley: Who are these strangers and where are they going? Ballarat International Foto Biennale
    2019 #37 Giles Fielke Karrabing Film Collective: The Mermaids, or Aiden in Wonderland KINGS Artist Run
    2019 #36 Aneta Trajkoski SERIAL McClelland Sculpture Park+Gallery
    2019 #34 Philip Brophy ...(illegible)... MADA Gallery
    2019 #32 Ella Cattach On Vulnerability and Doubt Australian Centre for Contemporary Art
    2019 #31 Helen O'Toole George Egerton-Warburton, also known as , Heide Museum of Modern Art
    2019 #30 Victoria Perin, Brendan Casey I will never run out of lies nor love Bus Projects
    2019 #29 Anna Parlane FEM-aFFINITY Arts Project Australia
    2019 #28 Jane Eckett Josef Stanislaw Ostoja-Kotkowski: Solid Light McClelland Sculpture Park+Gallery
    2019 #27 Elyssia Bugg Prima Materia Bundoora Homestead
    2019 #26 Amelia Winata Angelica Mesiti: ASSEMBLY Venice Biennale
    2019 #25 Rex Butler Hans and Nora Heysen: Two Generations of Australian Art Ian Potter Centre: NGV Australia
    2019 #24 Francis Plagne Janet Burchill and Jennifer McCamley: Temptation to Co-exist Heide Museum of Modern Art
    2019 #23 Audrey Schmidt Octopus 19: Ventriloquy Gertrude Contemporary
    2019 #22 Anna Parlane Serene Velocity in Practice: MC510/CS183 Monash University Museum of Art
    2019 #21 Sophie Knezic Arlo Mountford: Deep Revolt Shepparton Art Museum
    2019 #21 Philip Brophy Christian Thompson: Baya Gardiya Australian Centre for the Moving Image
    2019 #20 Victoria Perin Isabel Davies: Recent Geometric Constructions Stephen McLaughlan Gallery
    2019 #19 Chelsea Hopper Taryn Simon: Contraband Anna Schwartz Gallery
    2019 #18 Rex Butler Tracey Moffatt: Body Remembers Tarrawarra Museum of Art
    2019 #17 Stephen Palmer Amalia Lindo: Computer Shoulders Centre for Contemporary Photography
    2019 #16 Giles Fielke Carve A Future, Devour Everything, Become Something Ian Potter Centre: NGV Australia
    2019 #15 David Wlazlo Compromise Warrnambool Art Gallery
    2019 #14 Ella Cattach Emma Phillips: Too Much to Dream Reading Room
    2019 #13 Paris Lettau The Museological Consciousness Lyon Housemuseum Galleries, Meow
    2019 #13 The Editors Memo Review 01. Perimeter Books, World Food Books, Monash University Museum of Art
    2019 #12 Giles Fielke Tudors to Windsors: British Royal Portraits Bendigo Art Gallery
    2019 #11 Sophie Knezic The Tennis Piece Gertrude Contemporary
    2019 #10 Victoria Perin Papermade / John Nixon: Screenprints, Woodblocks & Unique Relief Prints Negative Press, Australian Galleries
    2019 #09 Francis Plagne Visions of Paradise: Indian Court Paintings National Gallery of Victoria
    2019 #08 Amelia Winata Daniel von Sturmer Anna Schwartz Gallery
    2019 #07 Audrey Schmidt Carny Neon Parc
    2019 #06 Rex Butler Christian Marclay: The Clock Australian Centre for the Moving Image
    2019 #05 Anna Parlane Marlene Gilson Art Gallery of Ballarat
    2018 #52 Memo Review Thanks for reading in 2018
    2018 #51 Victoria Perin Sweeney Reed and Strines Gallery Heide Museum of Modern Art
    2018 #50 Paris Lettau Katie West: warna (ground) Caves
    2018 #49 Audrey Schmidt Aesthetics, Politics and Histories: The Social Context of Art AAANZ Conference 2018 - RMIT University
    2018 #49 The Editors Does the art exhibition have a future? AAANZ Conference 2018 - RMIT University
    2018 #48 Rex Butler Mira Gojak and Takehito Koganezawa: The Garden of Forking Paths Buxton Contemporary
    2018 #47 Jane Eckett Clement Meadmore: The art of mid-century design Ian Potter Museum of Art
    2018 #46 Francis Plagne Spencer Lai: A smile forms into a grimace / Matilda Davis: Too Many Dinner Parties Bus Projects
    2018 #45 Anna Parlane Lili Reynaud-Dewar, TEETH, GUMS, MACHINES, FUTURE, SOCIETY / Alicia Frankovich, Exoplanets Monash University Museum of Art
    2018 #44 Amelia Winata Hito Steyerl: Factory of the Sun National Gallery of Victoria
    2018 #43 David Wlazlo Biennale of Australian Art Art Gallery of Ballarat
    2018 #42 Giles Fielke Anne Ferran: White Against Red Sutton Gallery
    2018 #41 Sophie Knezic Eavesdropping Ian Potter Museum of Art
    2018 #41 Benison Kilby State of the Union Ian Potter Museum of Art
    2018 #40 Tim Alves John Stezaker: Lost World Centre for Contemporary Photography
    2018 #39 Paris Lettau Brook Andrew: The Language of Skulls Ten Cubed
    2018 #38 Jane Eckett Design for Life: Grant and Mary Featherston Heide Museum of Modern Art
    2018 #37 Rex Butler Tom Roberts: Shearing the Rams National Gallery of Victoria
    2018 #36 Victoria Perin Baldessin / Whiteley: Parallel Visions National Gallery of Victoria
    2018 #35 Hester Lyon Architecture Makes Us: Cinematic Visions of Sonia Leber and David Chesworth Centre for Contemporary Photography
    2018 #34 Francis Plagne Robert Smithson: Time Crystals Monash University Museum of Art
    2018 #34 Philip Brophy Robert Smithson: Time Crystals Monash University Museum of Art
    2018 #33 Amelia Winata Nicholas Mangan, Termite Economies Sutton Gallery
    2018 #32 Giles Fielke Philadelphia Wireman World Food Books
    2018 #31 Victoria Perin, David Wlazlo, Amelia Winata Melbourne Art Fair & Spring 1883 Australian Centre for Contemporary Art, Windsor Hotel
    2018 #30 Anna Parlane A Lightness of Spirit is the Measure of Happiness Australian Centre for Contemporary Art
    2018 #29 Giles Fielke, Amelia Winata, Tiarney Miekus Best and Overlooked of 2018 Recess, Ian Potter Museum of Art, Gertrude Contemporary
    2018 #28 Shelley McSpedden Auto Body Works Arts Project Australia
    2018 #27 Rex Butler Colony: Australia 1770–1861 / Frontier Wars National Gallery of Victoria
    2018 #26 Paris Lettau Andrew Browne: Spill Tolarno Galleries
    2018 #25 Jane Eckett The Sculpture Park Point Leo Estate
    2018 #24 Giles Fielke Lucina Lane and Nigel Lendon: Teach the Kids to Strike Neon Parc
    2018 #23 Tim Alves I hope you get this: Raquel Ormella Shepparton Art Museum
    2018 #22 Chelsea Hopper Diane Arbus: American Portraits Heide Museum of Modern Art
    2018 #21 Rex Butler The Field Revisited National Gallery of Victoria
    2018 #20 Anna Parlane Hard Feelings The Honeymoon Suite
    2018 #19 Francis Plagne Abstraction 17: A Field of Interest, c. 1968 Charles Nodrum Gallery
    2018 #18 Eva Birch Kieren Seymour: Blue Blindness Block Projects
    2018 #17 Amelia Winata Natalie Thomas and the Women's Art Register: Finding the Field True Estate Gallery
    2018 #16 David Wlazlo Troy Ramaekers: Double B-Sides Five Walls Projects
    2018 #15 Helen Hughes Vivienne Binns: It is what it is, what it is Sutton Gallery
    2018 #14 Kate Warren Soda_Jerk: TERROR NULLIUS Australian Centre for the Moving Image
    2018 #13 Paris Lettau The Shape of Things to Come Buxton Contemporary
    2018 #12 Victoria Perin Unfinished Business: Perspectives on Art and Feminism Australian Centre for Contemporary Art
    2018 #11 Giles Fielke Samraing Chea: Universal Drawings Reading Room
    2018 #10 Nicholas Tammens Mutlu Çerkez: 1988-2065 Monash University Museum of Art
    2018 #09 Tiarney Miekus Genesis Breyer P-Orridge: Loyalty Does Not End With Death The SUBSTATION
    2018 #08 Anna Parlane Kirsten Lyttle: Digital Mana Centre for Contemporary Photography
    2018 #07 Francis Plagne Tony Clark: Chinoiserie Landscape 1987 - 2017 Murray White Room
    2018 #06 Rex Butler Richard Bell: Dredging up the Past Gertrude Contemporary
    2018 #05 Amelia Winata Kieran Butler and collaborators: Rainbow Bois and Magical Gurls Blindside
    2017 #52 Giles Fielke Triennial National Gallery of Victoria
    2017 #51 Victoria Perin Del Kathryn Barton: The Highway is a Disco National Gallery of Victoria
    2017 #50 Julia Lomas Angela Brennan: Forms of Life Ian Potter Museum of Art
    2017 #49 Kate Warren Cover Versions: Mimicry and Resistance Shepparton Art Museum
    2017 #48 Paris Lettau Our Knowing and Not Knowing: Helen Maudsley Ian Potter Centre: NGV Australia
    2017 #47 Francis Plagne Douglas Lance Gibson: What Was Once Yesterday Today & Tomorrow Tolarno Galleries
    2017 #46 Chelsea Hopper Jenny Watson: The Fabric of Fantasy Heide Museum of Modern Art
    2017 #45 Ian McLean Wayne Eager New Paintings Eastgate Gallery
    2017 #44 Anna Parlane Jason Phu: My Parents Met at the Fish Market Westspace
    2017 #43 Rex Butler Gareth Sansom: Transformer The Ian Potter Centre | NGV Australia
    2017 #42 David Wlazlo Joseph Kosuth: A Short History of My Thought Anna Schwartz Gallery
    2017 #41 Amelia Winata Darren Sylvester: Céline Bus Projects
    2017 #40 Helen Hughes Brent Harris: the small sword Tolarno Galleries
    2017 #39 Kate Warren The Score Ian Potter Museum of Art
    2017 #38 Paris Lettau Isadora Vaughan: Recalcitrant Bodies The Honeymoon Suite
    2017 #37 Francis Plagne Smallness: Trevelyan Clay & Kate Smith Neon Parc, Sutton Gallery
    2017 #36 Audrey Schmidt People Soup Suicidal Oil Piglet
    2017 #35 Anna Parlane Forever Transformed Gertrude Contemporary
    2017 #34 Jane Eckett Sidney Nolan and Elwyn Lynn: A Joint Centenary Charles Nodrum Gallery
    2017 #33 David Wlazlo Future Eaters Monash University Museum of Art
    2017 #32 Beth Kearney Fictitious Realities Bayside Arts and Cultural Centre
    2017 #31 Rex Butler Brave New World: Australia 1930s / Call of the Avant-Garde: Constructivism and Australian Art Heide Museum of Modern Art, Ian Potter Centre: NGV Australia
    2017 #30 Victoria Perin Discovering Dobell / Dobell’s Circle Tarrawarra Museum of Art
    2017 #29 Amelia Winata Spencer Lai: Contaminant, Figures Fort Delta
    2017 #28 Helen Hughes Liam Osborne: Hot Copy Punk Café
    2017 #27 Kylie King Dale Frank Neon Parc
    2017 #26 Francis Plagne Every Brilliant Eye National Gallery of Victoria
    2017 #25 Rex Butler I can see Russia from here TCB art inc.
    2017 #24 Kate Warren Andrea Grützner: Tanztee and Erbgericht Centre for Contemporary Photography
    2017 #23 Giles Fielke On Campus Monash University
    2017 #22 David Wlazlo Restless Margaret Lawrence Gallery
    2017 #21 Anna Parlane Sky Country: Our Connection to the Cosmos Blak Dot Gallery
    2017 #20 Amelia Winata Unproductive Thinking Deakin University Art Gallery
    2017 #19 Anthony White Van Gogh and the Seasons National Gallery of Victoria
    2017 #18 Victoria Perin Harold Freedman: Artist for the People Art Gallery of Ballarat
    2017 #17 Paris Lettau Raafat Ishak & Damiano Bertoli: Hebdomeros Sutton Gallery
    2017 #16 Beth Kearney Bill Henson National Gallery of Victoria
    2017 #15 Helen Hughes James Tylor: un-resettling Vivien Anderson Gallery
    2017 #14 Rex Butler Louise Hearman Tarrawarra Museum of Art
    2017 #13 Julia Lomas Sally Smart: The Choreography of Cutting Sarah Scout Presents
    2017 #12 Giles Fielke Open Spatial Workshop: Converging in Time Monash University Museum of Art
    2017 #11 Kate Warren Daniel Crooks: Parabolic / Miyanaga Akira: REALTIME Anna Schwartz Gallery, National Gallery of Victoria
    2017 #10 Francis Plagne David Hockney: Current National Gallery of Victoria
    2017 #09 David Wlazlo Project 17: Radical Immanence Anna Pappas Gallery
    2017 #08 Anna Parlane Stuart Ringholt: Works on Paper Neon Parc
    2017 #07 Victoria Perin Don't be too Polite: Posters and Activism Ian Potter Museum of Art
    2017 #06 Amelia Winata O’Keeffe, Preston, Cossington-Smith: Making Modernism Heide Museum of Modern Art
    2017 #05 Paris Lettau Sovereignty Australian Centre for Contemporary Art
    2017 #04 Beth Kearney Ramesh Nithiyendran: In the beginning Ian Potter Museum of Art
    2017 #03 Giles Fielke Lucina Lane: Range White Cuberd
    2017 #02 Helen Hughes The Sculpture of Bronwyn Oliver Tarrawarra Museum of Art
    2017 #01 Rex Butler Suzanne Archer: Moving Forwards, Looking Back: A Survey 1969–2016 Nicholas Thompson Gallery
    Virginia Cuppaidge, The Skyspace Paintings 1977 - 1982
    Nicholas Thompson Gallery
    by Jane Eckett
    Callum Morton, Monument #32: Helter Shelter
    Alfred Deakin Place Ballarat
    by Rex Butler
    Ari Tampubolon, Symposia: This show is dedicated to K-pop girl group, TWICE. I love you.
    SEVENTH Gallery
    by Amelia Winata
    Warwick Baker, Hi-Vis Dreams
    Centre for Contemporary Photography
    by Giles Fielke
    Agatha Gothe-Snape, The Outcome is Certain
    Monash University Museum of Art
    by Amelia Wallin
    Alethea Everard, Art show
    Meow2
    by Audrey Schmidt
    Elizabeth Gower, LOCATIONS
    Sutton Gallery, Sutton Projects
    by Chelsea Hopper
    KAWS: Companionship in the Age of Loneliness
    NGV International
    by Paris Lettau
    Assembled: The Art of Robert Klippel
    Tarrawarra Museum of Art
    by Victoria Perin
    Colin McCahon: Letters and Numbers
    National Gallery of Victoria
    by Luke Smythe

    The End.