Helen O'Toole
George Egerton-Warburton, also known as ,

George Egerton-Warburton, also known as ,

Project Gallery, Heide Museum of Modern Art, Melbourne
Curated by Brooke Babington
29 June – 20 October 2019

By Helen O'Toole

Like the rusty machinery that squeaks and bumps and scrapes and moans in a most wonky fashion, the coherence of George Egerton-Warburton's installation at Heide Museum of Modern Art teeters on the brink of collapse. The exhibition is comprised of a discordant array of styles, media and sensibility, willingly courting bew...

Victoria Perin
I will never run out of lies nor love

I will never run out of lies nor love

Bus Projects
10 July – 3 August 2019

By Victoria Perin and Brendan Casey

π.o.—Melbourne's preeminent anarchist/poet/DIY art historian—has observed a deep gulf between literature and the visual arts in Australia and speculates that Ern Malley is to blame. Before Ern, so the argument goes, art and letters co-existed in a collaborative landscape, evidenced in no small part by Angry Penguins the wartime journal that printed Ern's hoax poems in 1944, and...

Anna Parlane
FEM-aFFINITY

FEM-aFFINITY

Arts Project Australia
15 June – 20 July 2019

By Anna Parlane

The identification of common ground is essential for any group project, whether political, artistic, or both. Affinity is a baseline necessity for artistic collaboration and is also typically the primary product of group exhibitions, something that curators create or reveal.

FEM-aFFINITY at Arts Project Australia, curated by Catherine Bell, brings together the work of female artists with and without disability t...

Jane Eckett
Josef Stanislaw Ostoja-Kotkowski: Solid Light

Josef Stanislaw Ostoja-Kotkowski: Solid Light

McClelland Sculpture Park+Gallery
1 April – 14 July 2019

By Jane Eckett

Why is Stanislaw Ostoja-Kotkowski not more widely recognised as the post-war modernist pioneer he evidently was? His work was at the international vanguard in terms of his experiments with sound and light, with clear links to the Zero group in Germany and their wider international network of affiliated artists including the Gutai group in Japan and the Nouveaux Réalistes i...

Elyssia Bugg
Prima Materia

Prima Materia

Bundoora Homestead
11 May – 7 July 2019, curated by Emily Jones

By Elyssia Bugg

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...

Amelia Winata
Angelica Mesiti: ASSEMBLY

Angelica Mesiti, ASSEMBLY

Australia Pavilion at the 58th Venice Biennale
11 May – 24 November 2019

By Amelia Winata

Angelica Mesiti's sumptuous three-channel video ASSEMBLY takes democracy as its central concept. Curated by Juliana Engberg, the work slickly weaves together the artist's trademark vehicles of music and non-verbal language.

This is the third time that Denton Corker Marshall's black box pavilion has housed the Australian exhibition in the Giardini. 2017's offering, My H...

Rex Butler
Hans and Nora Heysen: Two Generations of Australian Art

Hans and Nora Heysen: Two Generations of Australian Art

The Ian Potter Centre: NGV Australia
8 March – 28 July 2019

By Rex Butler

I was quite prepared to come to Hans and Nora Heysen: Two Generations of Australian Art like a Countess blogger. Yet again the pairing of Nora Heysen with her father Hans, as though her story could only be told through him. Yet again the "Australianising" of Australian art history when this is also a German story and, when Nora goes overseas to study at the C...

Francis Plagne
Janet Burchill and Jennifer McCamley: Temptation to Co-exist

Janet Burchill and Jennifer McCamley: Temptation to Co-Exist

Heide Museum of Modern Art, Melbourne
6 April – 14 July 2019

By Francis Plagne

It is a somewhat disconcerting experience setting out to review an exhibition when one has the distinct feeling that whatever might be said about it has already occurred to the artists and is already, in some sense, factored into the work itself. This is precisely the feeling one has moving through this well-curated retrospective of the work of Janet...