• Prima Materia
    Bundoora Homestead
    11 May –
    07 Jul 2019
    By Elyssia Bugg
    06 Jul 2019

    Honey, ore, vinegar, lead, venom, urine and lye. These are among some of the fifty or so elements used in Martin Ruland the Younger's 1612 text, Lexicon Alchemiae Sive Dictionarium Alchemistarum, to describe the concept of prima materia. Translating from Latin as "first matter", prima materia is a recurring, elusive object of alchemical and philosophical research. It is also, in name, one of the current exhibitions inhabiting the stately rooms of Bundoora Homestead. That Ruland employed so many different similes in attempting to articulate what prima materia is indicates that the concept may be inherently inexplicable. This would explain why curator Emily Jones has chosen to focus the exhibition less directly on prima materia itself, and more on the historical, scientific and occult practices that the term's alchemical origins evoke. Yet of an exhibition that seems to centre the transmutable and transformative, it might still be worth asking where, if at all, amongst or within such works, the pure substance of the exhibition's namesake may be realised.

    Zilverster, (Goodwin & Hanenbergh), Dada-Roman-Alchemia, ink and pencil on Canson archival paper (framed), 29.7 x 42 cm, Australia, 2015-16, Photo: Sarah Scout Presents.

    This question was raised initially for me on encountering Zilvester's work in the first room of the exhibition, as what is striking is not the purity of the objects, but the mark of their manipulation. An ongoing collaboration between Sharon Goodwin & Irene Hanenbergh, Zilvester sees the work of art become a vessel for the blending of the two parties' at times disparate streams of consciousness. This is apparent atop Table of Moresnet (2016). Looking to be very much in its element at the centre of one of the homestead's ornate rooms, Table of Moresnet consists of an oval dining table carved with eddying imagery that looks to be the product of sustained notebook doodling. This practice of impressing meandering thought into objects is mirrored on the room's mantlepiece in Alamy (2017-18): a collection of glassware, some cracked, some upturned, but all etched with the same vocabulary of swirling text and images. The pictorial content of the two works is drawn from eclectic sources spanning ancient mythology, Mad magazine, astrology, biblical imagery, the TV show Vikings, and the Heaven's Gate UFO cult. Taken individually, these references amount to little more than signifiers of various practices and institutions that seek to make sense of the world. Yet amassed and unified as they are across the objects and the accompanying drawings throughout the gallery, the images form in total an impression of thought as it moves between associations, objects and individuals.

    Zilverster, (Goodwin & Hanenbergh), Alamy, engraved glassware, 2017-18, installation view, Bundoora Homestead, Photo: courtesy of the galley

    As is the case with Zilvester's barrage of images, many of the works in the show seem to operate according to some unseen logic. Consequently, the exhibition appears to invite the viewer to perform the alchemist's work in unearthing the elemental, working backwards from what is apparent in order to ascertain how it has come into being, and what the implications of this might be. The pleasure of this undertaking is distilled in Alicia King's The Future of Nature (2018). Presented on a plinth behind plexiglass, the work appears on first glance to be a mineral, oozing dark glistening goo and sprouting bristly tufts of moss. However, closer inspection reveals the seemingly organic moss-like substance to be constituted of considerably more inorganic magnetised iron filings. The composition of King's work subsequently manages to somewhat miraculously give metal the appearance of an organism that is porous, alive and soft to the touch.

    A similar material effect is used to different ends in Vittoria Di Stefano's The Bride's Room (2019). Situated on the floor of one of the homestead's larger rooms, Di Stefano's work is comprised of a checkerboard of mirror and tile. Atop this grid, an array of abstract sculptures made of soap flakes and salon wax form a recognisably modernist rhythm of splodges, dots and dashes. However rather than the brash, masculine-coded gestures associated with much of the 20th-century avant-garde, Di Stefano's sculptures—with their light pink hue, rounded edges, and sets of acrylic nails pressed into seemingly malleable exteriors—are distinctly and subversively more feminine. There is something then deeply satisfying in the way that these marks, in their three dimensions, are here material aberrations that the modernist grid, or the domestic realm its tiled surface might suggest, cannot fully subsume.

    Michael G. F. Prior, Open Version, solar panels, laser discs, lasers, copper, bronze, microphone stand, timber, mirror, ball bearing, eucalypt branch, cardboard, paper, speakers, motors, fan, custom electronics, 2017, installation view, Bundoora Homestead, 2019 Photo: courtesy of the gallery

    The only element that noticeably permeates every room of the homestead is the ambient dirge of Michael G. F. Prior's Open Version (2017). Though its soundtrack becomes an eerie companion throughout the gallery spaces, Open Version is physically situated upstairs as a series of interlinked contraptions of flashing yellow and red light globes, slowly rotating discs, solar panels and laser pointers. This peculiar ensemble is connected up to speakers that emit the exhibition's hypnotic musical accompaniment, which in turn is produced by the alterations in the light, movement and electromagnetic activity that the work creates and interacts with. The work exists as a process that can produce itself, resonating to some extent with the notion of prima materia as autonomous and materially self-contained. As the piece primarily generates its own light and movement, it is in some sense self-perpetuating. This is not to say that the work is necessarily an actualisation of prima materia: by nature of its kineticism and duration it is, maybe to a greater degree than any other work in the show, able to manifest a sense of the self-creating potentiality that has historically been associated with the universe's original material.

    The concept of first matter takes on a decidedly different significance in Yhonnie Scarce's The more bones the better (2016) and Julie Gough's Seam (2005). A First Nations artist and master glass-blower, Scarce's work interrogates notions of memory, trauma and history through a practice that quite literally sees the artist breathe life into her materials. Her contribution to Prima Materia takes colonisation's impact on indigeneity as its subject, and features six beakers filled to varying degrees with blue-black shards and tapered glass forms. The didactic text suggests that these glass objects resemble indigenous fruits or vegetables, and thus their clinical presentation—detached as it is from the earthy and organic connotations such objects might ordinarily invoke—takes on an ominous tone. This notion of living things, uprooted and fragile, serves as a pertinent representation of the effects that capitalism and colonialism have wrought on Indigenous communities and the natural world. In particular the work's title and the way in which the beakers collect the material in measurable amounts evoke the colonial mentality of greed and indifference that continues to facilitate the displacement of generations of Aboriginal and Torres Strait Islander people from their heritage and culture.

    Yhonnie Scarce, The more bones the better, glass, 2016, installation view, Bundoora Homestead, 2019 Photo: courtesy of the gallery

    In contrast, Gough's Seam addresses the historical through the material by linking together components of her personal lineage. As the didactic text explains, the form of the imposing necklace, made of coal and held aloft by two arms of driftwood, resembles the traditional shell necklaces of Tasmania's Trawlwoolway people, while the content is a gesture towards the coal-mining occupation of Gough's Scottish ancestors. Here, contrary to Scarce's delicate forms, it is the weight of the materials that is salient—a kind of material testament to the strength of those who continue to bear the weight of histories heavy with loss. The "seam" of the title plays a dual role, referring to the point at which two materials, or here ancestries, meet, and the geologic deposit from which the coal is drawn. This facet of Gough's work is complimented by the inclusion of Linda Persson's SiO2.nH20 (2019), which also presents a geologic take on the exhibition's theme. SiO2.nH20 uses a microscopic camera and rotating illumination to produce a live video image charting the internal rivulets and undulating colours of a tiny opal. It's a mesmerising piece: by undertaking an action in the present, the past is actualised as a continuity existing in a suspended form, not lost to time but hidden in bodies and small, elemental things.

    Though not all of the works in the exhibition are immediately compelling, the cohesive thematic vein that runs through the show encourages one to look repeatedly beyond initial aesthetic impressions toward more fundamental questions of origin and process. I find myself doing this in the presence of André Piguet's Orb Traps (2016), which, in dialogue with a suite of paintings, are displayed slightly to their detriment alongside Di Stefano's more expressive Bride's Room. The Orb Traps are deep urns shaped inside by rings of wax stalactites, looking like large-scale versions of the dioramas or grow-your-own mineral experiments one can purchase from a National Geographic store. However, on reading the rationale that explains Piguet's attention to process, the presence of these pieces—along with the four mottled green canvases that appear to ripple as a result of Piguet's particular method of pulling the paint across the painting's surface—seems entirely appropriate in an exhibition that is oriented as much to the un-exhibited act of producing material mutation as it is to its outcome.

    André Piguet, Port Fennesz, oil on linen, 25cm diameter x 4 cm depth, Australia, 2019, Photo: Station Gallery.

    Looking over the list that Wikipedia has conveniently compiled of Ruland's stand-ins for original matter, a pattern of correspondence emerges between Ruland's terminology and the works in Prima Materia. The "bride" of Di Stefano's work appears alongside "glass" as in Scarce's practice, "magnet" like those in Open Version and something approximating the "metallic entity" in King's work. Yet it is unclear whether these connections are a coincidence brought about by the sheer number of items Ruland refers to, or an organising principle. If the pieces in the exhibition are seen as simply representations of Ruland's descriptors, then something of the show's promise of a kind of alchemical mysticism is lost. The real revelation of the works is not in the tracing of signifiers to signified in a process that obscures matter in favour of meaning. Rather, it is in the visceral ambiguity of the works' materiality and the manner in which this prompts the viewer to ask not what, but how.

    It is this latter line of questioning that might lead one to the undercurrent of latency that is prima materia. For from the collaborative practice of Zilvester and the deceptive materiality of The Future of Nature to the dual histories of Seam and the time travelling of SiO2.nH20, there is a sense that the works in this show are between states. In this way, it is not despite but because of the exhibition's interest in transmutation that we might glean the existence of some essence of the absolute. Because these between-states destabilise the finite and the known and give way to the potentiality of becoming past and becoming other. In the introduction to his 1956 essay 'Aristotle without Prima Materia', Hugh R. King characterises prima materia as "the matter behind all matters, the eternal potentiality without form and so without actuality". The original material referred to as prima materia is, in such a context, perhaps not matter at all, but a virtual dimension immanent to that which is subject to change—that which is then necessarily immanent to all things. Accordingly, those things that visibly exist on the cusp of becoming something else, or those that catalyse or reflect processes of change, might be best positioned to capture this virtual quality of formless potential. Those things are the objects in Prima Materia that spin and flow and hum and hang, that are volatile and heavy and sensitive and susceptible; and that retain, in this way, the compelling mysticism of all things as yet unrealised.

    Elyssia Bugg is a writer, and PhD Candidate at the University of Melbourne. She is currently researching the object-based performance practices of Italy's Arte Povera movement.

    Title image: Alicia King, The Future of Nature, cast resin, rare earth magnets, iron, 45 x 35 x 45 cm, Australia, 2018, Photo: courtesy of the artist. )

    2020 #28 Audrey Schmidt Lost in the feed/translation
    2020 #27 Vincent Le Nicholas Mangan, Termite Economies: Neural Nodes and Root Causes Sutton Gallery
    2020 #26 Lévi McLean, Paris Lettau The Tennant Creek Brio NIRIN: 22nd Biennale of Sydney
    2020 #25 Giles Fielke Improvements and Reproductions West Space
    2020 #24 Victoria Perin Peter Tyndall bLogos/HA HA
    2020 #23 Helen Hughes Confined 11 The Torch
    2020 #22 Hester Lyon HTTP.PARADISE Incinerator Gallery
    2020 #21 Rex Butler Jane Sutherland, Obstruction, Box Hill, 1887 Art Gallery of Ballarat
    2020 #20 Amelia Winata John Nixon, Groups + Pairs 2016-2020 Anna Schwartz Gallery
    2020 #19 Chelsea Hopper Justine Varga, Tachisme Tolarno Galleries
    2020 #18 Anna Parlane Patrick Pound, The Museum of There, Not There STATION
    2020 #16 Robert Schubert Terre Thaemlitz, Love Bomb/Ai No Bakudan The SUBSTATION
    2020 #15 Philip Brophy Lewis Fidock and Joshua Petherick, Weevils in the Flour Gertrude Contemporary
    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
    Lost in the feed/translation
    by Audrey Schmidt
    Nicholas Mangan, Termite Economies: Neural Nodes and Root Causes
    Sutton Gallery
    by Vincent Le
    The Tennant Creek Brio
    NIRIN: 22nd Biennale of Sydney
    by Lévi McLean, Paris Lettau
    Improvements and Reproductions
    West Space
    by Giles Fielke
    Peter Tyndall
    bLogos/HA HA
    by Victoria Perin
    Confined 11
    The Torch
    by Helen Hughes
    Incinerator Gallery
    by Hester Lyon
    Jane Sutherland, Obstruction, Box Hill, 1887
    Art Gallery of Ballarat
    by Rex Butler
    John Nixon, Groups + Pairs 2016-2020
    Anna Schwartz Gallery
    by Amelia Winata
    Justine Varga, Tachisme
    Tolarno Galleries
    by Chelsea Hopper

    The End.