Soda_Jerk, TERROR NULLIUS
Australian Centre for the Moving Image
20 March – 1 July 2018
By Kate Warren
TERROR NULLIUS, the “controversial” new film by artist–filmmakers Soda_Jerk (Dominique Angeloro and Dan Angeloro) opens with a slightly distorted rendition of “Advance Australia Fair”. It appropriately sets the scene for what is to come, as the film takes its viewers on a wide-ranging journey, in three acts, which emphasises the dark underside to Australian popular culture and politics....
Avant-Garde & Mick
The Shape of Things to Come
Buxton Contemporary, cnr Southbank Boulevard & Dodds Street Southbank, 9 March – 24 June 2018
By Paris Lettau
'Hegel remarks somewhere that all great world historical facts and personages appear, so to speak, twice. He forgot to add: the first time as tragedy, the second time as farce.'
In 1885, some thirty-years after Marx wrote these well-known words, the first Buxton Art Gallery opened on Swanston Street as a centre of Melbourne's most...
Unfinished Business: Perspectives on Art and Feminism
Australian Centre for Contemporary Art, 15 December 2017–25 March 2018
By Victoria Perin
Tomorrow is the last day of Unfinished Business: Perspectives on Art and Feminism at ACCA (Australian Centre for Contemporary Art). Hopefully this is a prompt for you to visit (or revisit), because shows like this are rare. Here we are presented with the knowledge (institutional, personal, ancestral, academic) of six curators, thoughtfully draggin...
Every Truckers Enjoy Having Barbecue to Eat for Picnic
Samraing Chea, Universal Drawings
Reading Room, 3 March—24 March 2018, proposed by Rob McHaffie and Matlok Griffiths
By Giles Fielke
Universal Drawings is an appropriate title for the exhibition of 41 works by the artist Samraing Chea currently on show at Olivia Radonich’s new city central gallery, Reading Room. A thoroughgoing millenial subject — Chea was born in 1995 — the suite of 26 drawings in full colour on display in Room...
Mutlu Çerkez: 1988–2065
Monash University Museum of Art, 10 February - 14 April 2018
By Nicholas Tammens
The exhibition Mutlu Çerkez: 1988 – 2065 and its accompanying monograph form a long awaited eulogy to an artist whose influence has remained largely unacknowledged since his unforeseen passing in 2005. It would not be conceited to say that the format of the exhibition was fated by the artist, but there is a general feeling that it comes as a late arrival. As Justin Clemens once poin...
Genesis Breyer P-Orridge, Loyalty Does Not End With Death
The SUBSTATION, 1 Market St, Newport VIC 3015, 2 February–10 March 2018
By Tiarney Miekus
Over the last five decades English artist, musician and poet Genesis Breyer P-Orridge has become the kind of person that others seek out. For some it might have been during the early 1970s when P-Orridge, and h/er involvement with performance art collective COUM Transmissions, was gathering attention for making use of soiled tampons, blood and...
Can you wear a digital cloak?
Kirsten Lyttle, Digital Mana
Centre for Contemporary Photography, 2 February – 11 March 2018
By Anna Parlane
Kirsten Lyttle (Waikato, Ngāti Tāhinga, Tainui a Whiro) is a New Zealand-born, Australia-based artist who has built a practice on the intersection of photography and weaving: two art-making traditions that initially seem to have little in common. However, Lyttle’s signature combination asserts that the distinction between customary Māori weaving prac...
Tony Clark, Chinoiserie Landscape 1987 - 2017
Murray White Room, Melbournee, 16 February – 29 March 2018
By Francis Plagne
Paul Taylor’s famous ‘Popism’ manifesto of 1982 included an exhortation to Australian artists to embrace the gulf separating them from the traditional centres of Western art history, to craft an art ‘born in mediation, gestated within the camera, where things are naturally upside-down, and expressed in a carnivalesque array of copies, inversions and negatives’. The sa...