Paris Lettau
Avant-Garde & Mick:

Marco Fusinato, The Infinitive 3, 2015, white UV halftone ink on black aluminium, 250 x 625 cm, courtesy the artist and Anna Schwartz Gallery, Melbourne.

The shape of things to come, at Buxton Contemporary, cnr Southbank Boulevard & Dodds Street Southbank, 9 March – 24 June 2018

'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 Ma...

Victoria Perin
'Unfinished Business: Perspectives on Art and Feminism', Australian Centre for Contemporary Art, by Vicki Perin

Alex Martinis Roe, It was about opening the very notion that there was a particular perspective (installation view), 2015 – 17, three-channel video installation, HD video and 16mm film, 33:02 mins (total running time). Image credit: Andrew Curtis, © the artist

Unfinished Business: Perspectives on Art and Feminism, Australian Centre for Contemporary Art, 111 Sturt Street, Southbank, Melbourne, 15 December 2017–25 March 2018

Tomorrow is the last day of Unfinished Business: Perspectives on ...

Giles Fielke
Every Truckers Enjoy Having Barbecue to Eat for Picnic:  Samraing Chea  'Universal Drawings', at Reading Room, by Giles Fielke

Samraing Chea, Untitled (March 29th 2017), 2017, pencil on paper, 29.5 × 40.5 cm, courtesy the artist and Arts Project Australia. Photo: Andrew Curtis.

Samraing Chea, Universal Drawings, proposed by Rob McHaffie and Matlok Griffiths at Reading Room, 3 March—24 March 2018

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 —...

Nicholas Tammens
Mutlu Çerkez: 1988-2065, at Monash University Museum of Art, by Nicholas Tammens

Mutlu Çerkez, Untitled: 18 April 2013 2002, oil on canvas, Art Gallery of New South Wales, Contemporary Collection Benefactors 2003.

Mutlu Çerkez: 1988–2065, at Monash University Museum of Art, Caulfield, 10 February - 14 April 2018

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 th...

Tiarney Miekus
Loyalty Does Not End With Death: Genesis Breyer P-Orridge at The SUBSTATION, by Tiarney Miekus

Genesis Breyer P-Orridge, Speak No Evil, 2004, C-print face-mounted with UV Plexi, artist frame 61 x 183cm. Photograph by Adam Stone.

Loyalty Does Not End With Death: Genesis Breyer P-Orridge at The SUBSTATION, 1 Market St, Newport VIC 3015, 2 February–10 March 2018

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 wi...

Anna Parlane
Can you wear a digital cloak? Kirsten Lyttle's 'Digital Mana' at Centre for Contemporary Photography, by Anna Parlane

Kirsten Lyttle, Gundulu/Emu Kākahu huruhuru, (Detail) (2018), Macramé cord (Cotton), Cotton twine, Digital prints on Fuji lustre paper. Dimensions variable 143cm (width) x 118cm (height) approx. Image Credit: Jack Loel.

Kirsten Lyttle, Digital Mana, Centre for Contemporary Photography, 2 February – 11 March 2018.

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: tw...

Francis Plagne
Tony Clark 'Chinoiserie Landscape 1987 - 2017' at Murray White Room, by Francis Plagne

Tony Clark, Chinoiserie landscape, 1987, oil on canvas board, 30.5 x 68.5 cm, triptych.

Tony Clark Chinoiserie Landscape 1987 - 2017, Murray White Room, Melbourne. February 16 - March 29.

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...

Rex Butler
The Saying and the Said: Richard Bell's 'Dredging up the Past' at Gertrude Contemporary, by Rex Butler.

Richard Bell, Vincent and Gough (From Little Things Good Things Grow): Gertrude Version, 2018, Acrylic on wall, 180 x 240 cm. Many thanks to the Telfor family for their assistance in creating this work, especially Rebecca and Emily Telfor.

RICHARD BELL: THE SAYING AND THE SAID

Richard Bell, Dredging Up the Past, Gertrude Contemporary, 2 February-10 March

In the recent rehang of the Australian collection at the Queensland Art Gallery, visitors before entering the gallery have to walk un...